Tooling: Difference between revisions
No edit summary |
No edit summary |
||
Line 2: | Line 2: | ||
In the context of Hackers & Designers, ‘tools’ | In the context of Hackers & Designers, ‘tools’ can mean several things, for instance pedagogical tools and tools for collaboration that enable critical engagement with, and through, technology. 'Tools' may refer to digital tools, software or hardware that we, as designers, artists, technologists and organizers interact with, on a daily basis. | ||
H&D tends toward free/libre and open-source tools. In H&D workshops, the accessibility of source code offers possibilities for using, copying, studying and changing, thus learning from and with technology. In contrast to the restrictions of using, sharing and modifying proprietary software, free and open-source principles derive from software development practices where technical objects “are made publicly and freely available.”<ref></ref> According to the Free Software Foundation, ‘free’ is defined as liberty, as “free from restriction, not as ‘free of charge.’”<ref></ref> The collective aspects of free and open-source software are expressed through particular modes of licensing and the practice of documentation and publication of source code on platforms for distributed version control and source code management such as Github and Gitlab. In the context of H&D, these principles are explored in and outside of the domain of computer programming.<ref></ref> Such principles are nurtured through a shared understanding that nothing is really made from scratch, and that the software and hardware we are working with, have been passed through many hands. | |||
and | |||
There are certain open-source tools that H&D accumulated around organizational activities, such as the web spreadsheet tool Ethercalc<ref></ref> to create overviews for budgets and plans or the real-time collaborative note taking tool Etherpad.<ref></ref> As free and open-source projects, these tools are used by many collectives and individuals who | |||
put them into practice across various contexts. For H&D, such tools are enmeshed with organizational routines, | |||
with other technical systems and are also connected to other communities of toolmakers and users. | |||
of | |||
Zwart Institute in Rotterdam,16 as well as the | Furthermore, H&D builds and works with digital tools that are situated in the realm of experimental publishing and graphic design. These include self-made publishing tools such as ChattyPub,<ref></ref> Momentary Zine,<ref></ref> and the Heartbeat-to-print tool.<ref></ref> In experimenting with design and publishing tools, H&D draws inspiration from other collectives and individuals, such as the Brussels-based collective Open Source Publishing<ref></ref> and ‘Constant Association for Art & Media’,<ref></ref> the Rotterdam-based collective Varia,<ref></ref> the Amsterdam-based collective fanfare,<ref></ref> the publishing practice of Vienna-based artist Eva Weinmayr,<ref></ref> or the embodied publishing practices of Rotterdam-based designers Amy Suo Wu and Clara Balaguer.<ref></ref> In addition, the knowledge and practices | ||
evolving from educational environments are encapsulated by the student-led interdepartmental initiative PUB at the Sandberg Instituut Amsterdam<ref></ref> or the experimental publishing program XPUB at Piet Zwart Institute in Rotterdam,16 as well as the digitaland hybrid publishing research groups of the Institute of Network Cultures.<ref></ref> | |||
Network Cultures. | |||
At H&D, such tools are often activated through | At H&D, such tools are often activated through workshops and are used to design small edition self-published printed matter. H&D’s experiments with design tools have challenged my design routines, more specifically the relationships I have built with design software, the tools I have become used to since my design education. In the context of H&D, publishing tools are not replacements but function in parallel to proprietary tools. They are indicative of an attempt to envision a process of designing a publication differently than it would be conventionally done. The practical and experimental approach to conceptualizing and building design and organizational tools differently has allowed me to | ||
workshops and are used to design small edition | test out other scenarios for tool-designer relationships and interactions. | ||
self-published printed matter. H&D’s experiments with | |||
design tools have challenged my design routines, more | Furthermore, H&D’s hands-on workshops bring together people and tools, in a temporary, focused environment. | ||
specifically the relationships I have built with design | Such workshops feed off and nurture communities of tool users and makers who consider it relevant to expand the conception of tools and tool-building processes, to learn about the ways in which tools are constructed in a hands-on, practical and often playful manner. In all instances it seems to me that people involved with H&D ascribe a certain value to toolmaking. | ||
software, the tools I have become used to since my design | |||
education. In the context of H&D, publishing tools | Yet, it also seems as if the shared enthusiasm for experimenting with tools cannot be located within the tool itself, nor in the products or outcomes these self-made tools produce. The appreciation for such self-made tools seems to lie in the process of building tools. In my experience of experimenting with tools in the context of H&D, there is a common understanding that tools are not mere instruments but that, as tool-users and makers, we are implicated in them, in ways that go beyond their immediately evident utility or the products they may produce. | ||
are not replacements but function in parallel to proprietary | |||
tools. They are indicative of an attempt to envision | |||
a process of designing a publication differently than it | |||
would be conventionally done. The practical and experimental | |||
approach to conceptualizing and building design | |||
and organizational tools differently has allowed me to | |||
test out other scenarios for tool-designer relationships | |||
and interactions. | |||
Furthermore, H&D’s hands-on workshops bring | |||
together people and tools, in a temporary, focused environment. | |||
Such workshops feed off and nurture communities | |||
of tool users and makers who consider it relevant | |||
to expand the conception of tools and tool-building | |||
processes, to learn about the ways in which tools are | |||
constructed in a hands-on, practical and often playful | |||
manner. In all instances it seems to me that people | |||
involved with H&D ascribe a certain value to toolmaking. | |||
Yet, it also seems as if the shared enthusiasm for experimenting | |||
with tools cannot be located within the tool | |||
itself, nor in the products or outcomes these self-made | |||
tools produce. The appreciation for such self-made | |||
tools seems to lie in the process of building tools. In my | |||
experience of experimenting with tools in the context | |||
of H&D, there is a common understanding that tools are | |||
not mere instruments but that, as tool-users and makers, | |||
we are implicated in them, in ways that go beyond their | |||
immediately evident utility or the products they may | |||
produce. |
Revision as of 14:10, 17 March 2023
Situating 'tools' within the collective practice of Hackers & Designers
In the context of Hackers & Designers, ‘tools’ can mean several things, for instance pedagogical tools and tools for collaboration that enable critical engagement with, and through, technology. 'Tools' may refer to digital tools, software or hardware that we, as designers, artists, technologists and organizers interact with, on a daily basis.
H&D tends toward free/libre and open-source tools. In H&D workshops, the accessibility of source code offers possibilities for using, copying, studying and changing, thus learning from and with technology. In contrast to the restrictions of using, sharing and modifying proprietary software, free and open-source principles derive from software development practices where technical objects “are made publicly and freely available.”Cite error: Invalid <ref>
tag; refs with no name must have content According to the Free Software Foundation, ‘free’ is defined as liberty, as “free from restriction, not as ‘free of charge.’”Cite error: Invalid <ref>
tag; refs with no name must have content The collective aspects of free and open-source software are expressed through particular modes of licensing and the practice of documentation and publication of source code on platforms for distributed version control and source code management such as Github and Gitlab. In the context of H&D, these principles are explored in and outside of the domain of computer programming.Cite error: Invalid <ref>
tag; refs with no name must have content Such principles are nurtured through a shared understanding that nothing is really made from scratch, and that the software and hardware we are working with, have been passed through many hands.
There are certain open-source tools that H&D accumulated around organizational activities, such as the web spreadsheet tool EthercalcCite error: Invalid <ref>
tag; refs with no name must have content to create overviews for budgets and plans or the real-time collaborative note taking tool Etherpad.Cite error: Invalid <ref>
tag; refs with no name must have content As free and open-source projects, these tools are used by many collectives and individuals who
put them into practice across various contexts. For H&D, such tools are enmeshed with organizational routines,
with other technical systems and are also connected to other communities of toolmakers and users.
Furthermore, H&D builds and works with digital tools that are situated in the realm of experimental publishing and graphic design. These include self-made publishing tools such as ChattyPub,Cite error: Invalid <ref>
tag; refs with no name must have content Momentary Zine,Cite error: Invalid <ref>
tag; refs with no name must have content and the Heartbeat-to-print tool.Cite error: Invalid <ref>
tag; refs with no name must have content In experimenting with design and publishing tools, H&D draws inspiration from other collectives and individuals, such as the Brussels-based collective Open Source PublishingCite error: Invalid <ref>
tag; refs with no name must have content and ‘Constant Association for Art & Media’,Cite error: Invalid <ref>
tag; refs with no name must have content the Rotterdam-based collective Varia,Cite error: Invalid <ref>
tag; refs with no name must have content the Amsterdam-based collective fanfare,Cite error: Invalid <ref>
tag; refs with no name must have content the publishing practice of Vienna-based artist Eva Weinmayr,Cite error: Invalid <ref>
tag; refs with no name must have content or the embodied publishing practices of Rotterdam-based designers Amy Suo Wu and Clara Balaguer.Cite error: Invalid <ref>
tag; refs with no name must have content In addition, the knowledge and practices
evolving from educational environments are encapsulated by the student-led interdepartmental initiative PUB at the Sandberg Instituut AmsterdamCite error: Invalid <ref>
tag; refs with no name must have content or the experimental publishing program XPUB at Piet Zwart Institute in Rotterdam,16 as well as the digitaland hybrid publishing research groups of the Institute of Network Cultures.Cite error: Invalid <ref>
tag; refs with no name must have content
At H&D, such tools are often activated through workshops and are used to design small edition self-published printed matter. H&D’s experiments with design tools have challenged my design routines, more specifically the relationships I have built with design software, the tools I have become used to since my design education. In the context of H&D, publishing tools are not replacements but function in parallel to proprietary tools. They are indicative of an attempt to envision a process of designing a publication differently than it would be conventionally done. The practical and experimental approach to conceptualizing and building design and organizational tools differently has allowed me to test out other scenarios for tool-designer relationships and interactions.
Furthermore, H&D’s hands-on workshops bring together people and tools, in a temporary, focused environment. Such workshops feed off and nurture communities of tool users and makers who consider it relevant to expand the conception of tools and tool-building processes, to learn about the ways in which tools are constructed in a hands-on, practical and often playful manner. In all instances it seems to me that people involved with H&D ascribe a certain value to toolmaking.
Yet, it also seems as if the shared enthusiasm for experimenting with tools cannot be located within the tool itself, nor in the products or outcomes these self-made tools produce. The appreciation for such self-made tools seems to lie in the process of building tools. In my experience of experimenting with tools in the context of H&D, there is a common understanding that tools are not mere instruments but that, as tool-users and makers, we are implicated in them, in ways that go beyond their immediately evident utility or the products they may produce.