https://pzwiki.wdka.nl/mw-mediadesign/api.php?action=feedcontributions&user=%29biyibiyibiyi%28&feedformat=atomXPUB & Lens-Based wiki - User contributions [en]2024-03-29T00:36:39ZUser contributionsMediaWiki 1.38.2https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ham_distro_central&diff=180045Ham distro central2020-10-05T11:51:49Z<p>)biyibiyibiyi(: /* AMERICAS */</p>
<hr />
<div>== HAM DISTRO CENTRAL ==<br />
<br />
Description:<br />
This is a list to document a distribution network for XPUB publications. The geographical spread is to reflect the cultures and regions XPUB folks come from. <br />
<br />
== EUROPE ==<br />
=== The Netherlands ===<br />
Underbelly: sound & media bookstore based in Rotterdam. <br />
PrintRoom:<br />
Page Not Found:<br />
Sans Seriffe: in Amsterdam.<br />
== ASIA ==<br />
=== China ===<br />
BOISMOU: Beijing<br />
Post Post: Beijing<br />
JIAZAZHI: Beijing<br />
<br />
=== Japan ===<br />
Utrecht / ユトレヒト: Small Tokyo art/design bookstore with lots of zines<br />
https://utrecht.jp/<br />
<br />
== AMERICAS ==<br />
=== USA ===<br />
Printed Matter: NYC<br />
consignment policy need to review a physical copy sent to their address - not feasible for grad 2020.<br />
<br />
== OCEANIA ==<br />
<br />
===Australia===<br />
Perimeter Books<br />
Website: https://www.perimeterbooks.com/<br />
Art/design bookstore in Melbourne, also does distribution around Australia<br />
<br />
World Food Books<br />
Website: https://worldfoodbooks.com/<br />
Art bookstore in Melbourne that "is devoted to the presentation of a rotating, hand-selection of international art, design and literature publications with an emphasis on the anti-traditional, anti-rational, the experimental, the avant-garde, the marginal"<br />
<br />
Bus Projects<br />
Website: https://busprojects.org.au/<br />
Artist-run initiative (ARI) in Melbourne that operates as a gallery space, but also stocks publications for sale.</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Ham_distro_central&diff=180044Ham distro central2020-10-05T11:51:06Z<p>)biyibiyibiyi(: Created page with "== HAM DISTRO CENTRAL == Description: This is a list to document a distribution network for XPUB publications. The geographical spread is to reflect the cultures and regions..."</p>
<hr />
<div>== HAM DISTRO CENTRAL ==<br />
<br />
Description:<br />
This is a list to document a distribution network for XPUB publications. The geographical spread is to reflect the cultures and regions XPUB folks come from. <br />
<br />
== EUROPE ==<br />
=== The Netherlands ===<br />
Underbelly: sound & media bookstore based in Rotterdam. <br />
PrintRoom:<br />
Page Not Found:<br />
Sans Seriffe: in Amsterdam.<br />
== ASIA ==<br />
=== China ===<br />
BOISMOU: Beijing<br />
Post Post: Beijing<br />
JIAZAZHI: Beijing<br />
<br />
=== Japan ===<br />
Utrecht / ユトレヒト: Small Tokyo art/design bookstore with lots of zines<br />
https://utrecht.jp/<br />
<br />
== AMERICAS ==<br />
=== USA ===<br />
Printed Matter: NYC<br />
<br />
== OCEANIA ==<br />
<br />
===Australia===<br />
Perimeter Books<br />
Website: https://www.perimeterbooks.com/<br />
Art/design bookstore in Melbourne, also does distribution around Australia<br />
<br />
World Food Books<br />
Website: https://worldfoodbooks.com/<br />
Art bookstore in Melbourne that "is devoted to the presentation of a rotating, hand-selection of international art, design and literature publications with an emphasis on the anti-traditional, anti-rational, the experimental, the avant-garde, the marginal"<br />
<br />
Bus Projects<br />
Website: https://busprojects.org.au/<br />
Artist-run initiative (ARI) in Melbourne that operates as a gallery space, but also stocks publications for sale.</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175858Collectiveioning pr2020-07-07T16:11:26Z<p>)biyibiyibiyi(: </p>
<hr />
<div>== Announcement text (MAKE SURE TO RETAIN ITALICS!!!!!11111!!!111!!!): ==<br />
<br />
The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 19:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
<br />
Time: 19h-2030h<br />
<br />
Place: https://project.xpub.nl/collectiveioning/<br />
<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
<br />
==PR image==<br />
[[File:Xpub banner final moving copy.gif |800px]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175857Collectiveioning pr2020-07-07T16:09:20Z<p>)biyibiyibiyi(: /* PR image */</p>
<hr />
<div>== Announcement text (MAKE SURE TO RETAIN ITALICS!!!!!11111!!!111!!!): ==<br />
<br />
The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
<br />
==PR image==<br />
[[File:Xpub banner final moving copy.gif |800px]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175856Collectiveioning pr2020-07-07T16:07:24Z<p>)biyibiyibiyi(: </p>
<hr />
<div>== Announcement text (MAKE SURE TO RETAIN ITALICS!!!!!11111!!!111!!!): ==<br />
<br />
The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
<br />
==PR image==<br />
[[File:Xpub banner final moving copy.gif]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Xpub_banner_final_moving_copy.gif&diff=175855File:Xpub banner final moving copy.gif2020-07-07T16:06:54Z<p>)biyibiyibiyi(: </p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175854Collectiveioning pr2020-07-07T16:03:26Z<p>)biyibiyibiyi(: </p>
<hr />
<div>== Announcement text (MAKE SURE TO RETAIN ITALICS!!!!!11111!!!111!!!): ==<br />
<br />
The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
<br />
==PR image==<br />
[[File:Collectiveioning banner final.gif]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175853Collectiveioning pr2020-07-07T16:03:10Z<p>)biyibiyibiyi(: </p>
<hr />
<div>== Announcement text (MAKE SURE TO RETAIN ITALICS!!!!!11111!!!111!!!): ==<br />
<br />
The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
==PR image==<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
[[File:Collectiveioning banner final.gif]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175852Collectiveioning pr2020-07-07T16:02:42Z<p>)biyibiyibiyi(: </p>
<hr />
<div>The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''<br />
<br />
[[File:Collectiveioning banner final.gif]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Collectiveioning_banner_final.gif&diff=175851File:Collectiveioning banner final.gif2020-07-07T16:01:41Z<p>)biyibiyibiyi(: </p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Collectiveioning_pr&diff=175850Collectiveioning pr2020-07-07T16:00:59Z<p>)biyibiyibiyi(: Created page with "The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. ''/ko 'lek tiv yon ning/The gathering..."</p>
<hr />
<div>The Experimental Publishing (XPUB) class of 2020 would like to invite you to the launch of our final publication, ''Collectiveioning''. <br />
<br />
''/ko 'lek tiv yon ning/The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectiveioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present our collective and individual research on Friday, July 10, 2020 at 18:00, followed by a Q & A session. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
Date: Friday, July 10th, 2020<br />
Time: 18h-1930h<br />
Place: https://project.xpub.nl/collectiveioning/<br />
Occasion: ULTIMATE Extraordinary Very Special Issue Indeed<br />
Attire: Birthday Suit or Business Casual or Casual Business or Come As You Are<br />
<br />
XPUB Class of 2020:<br />
Simon Browne<br />
Bohye Woo<br />
Paloma García<br />
Artemis Gryllaki<br />
Tancredi di Giovanni<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Rita Graça<br />
<br />
<br />
''The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.''</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_thesis_cassettes_textbook.png&diff=175846File:Biyi thesis cassettes textbook.png2020-07-06T20:49:47Z<p>)biyibiyibiyi(: </p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_thesis_vlogger_still.png&diff=175845File:Biyi thesis vlogger still.png2020-07-06T20:33:57Z<p>)biyibiyibiyi(: Uploaded with SimpleBatchUpload</p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_thesis_man_in_suit.png&diff=175844File:Biyi thesis man in suit.png2020-07-06T20:33:50Z<p>)biyibiyibiyi(: Uploaded with SimpleBatchUpload</p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_thesis_geek_glasses.png&diff=175843File:Biyi thesis geek glasses.png2020-07-06T20:33:46Z<p>)biyibiyibiyi(: Uploaded with SimpleBatchUpload</p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_thesis_fuduji.jpg&diff=175842File:Biyi thesis fuduji.jpg2020-07-06T20:33:41Z<p>)biyibiyibiyi(: Uploaded with SimpleBatchUpload</p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=175841C o l l e c t i v e i o n i n g2020-07-06T20:26:04Z<p>)biyibiyibiyi(: /* Web zines */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
'''STYLE GUIDE:'''<br><br />
Long version:<br><br />
* Special Issue 07: Start up, Burn Out: Life Hacks<br />
* Special Issue 08: The Network we (de)Served<br />
* Special Issue 09: The Library Is Open<br />
<br />
Short version (always in italics):<br><br />
* ''Start up, Burn Out: Life Hacks''<br />
* ''The Network we (de)Served''<br />
* ''The Library Is Open''<br />
<br />
=introduction=<br />
<br />
==collectiveioning==<br />
''The gathering of collective memory. A pre-literate notion of memory, in a communal way, something commemorative rather than putting a memory in a container. What we thought it was going to be changed completely. We are in that way changing our memory of what it was supposed to be. What are you able to collect? Memories? Objects? People? A collection of texts and people, collecting and composing each other? Somehow it's not even important that we have all the knowledge, what's important is the living, generative sense of the collection.''<br />
<br />
''Collectivioning'' is a publication that collects the work generated in our time at XPUB, from collective Special Issues in the first year (Special Issues 07, 08, 09), with threads that connect to the second year graduation projects.<br />
<br />
We will present the threads in our collective and individual research in a live online moment together on Friday, July 10, 2020 at 18:00. Although the presentation will be concise and spectacular, if you miss it, a web-to-print website will remain online, where you can choose to make your own co(ll/nn)ections. You may also print out what you collect from it at your own leisure. A complete, deluxe, shelf object (i.e. a printed version) will follow in October 2020.<br />
<br />
==pronunciation==<br />
'''SB:''' /kə 'lɛk tɪv yən nɪŋ/ is a mouthful of consonants and vowels joined together to make a new word spoken in many voices.<br><br />
'''BHW:''' /col ec 'tivio ning/ is a collection of works to share our voices into a one-whole-giant platform.<br><br />
'''PG:''' /co-lec-tí-bio-ning/ is a compilation of collective reflections, collaborative exercises, collective experiments, and common worlds to explore by individuals.<br><br />
'''AG:''' /kολε-κτί-βιο-νινγκ/ is collecting moments, memories, and collections collectively.<br><br />
'''TDG:''' /colleectiiiviòooniiing/ is an attempt to collect ive ion and ing.<br><br />
'''PSC:''' /cool-ectiveioning/ is not uniform, is using the uniform.<br><br />
'''BW:''' /ke lec ti vi on ne ing/ is to put nouns into adjectives and adjectives into verbs and verbs into nouns.<br><br />
'''RG:''' /collec-tí-ví-uuuuniiiing/ is a combination of our works and thoughts together as a group, team, band, class, gang, individuals, friends.<br><br />
<br />
'''ASW:''' Collectiveioning is a word collectively named by Simon Browne, Bohye Woo, Paloma García, Artemis Gryllaki, Tancredi di Giovanni, Pedro Sá Couto, Biyi Wen, and Rita Graça to encapsulate their graduation projects at the Experimental Publishing (XPUB) Masters of Piet Zwart Institute. The word is related to collections, collective time spent at XPUB, and collaborative working methods. This term was coined during an intense two-day online collective writing session in the depths of COVID-19, where bodies were separate but spirits were /collective-awning/.<br><br />
'''CB:''' /koh-lek-teev-yoh-níngk/ is a type of collaboration wherein individuals retain their autonomy within a collective process, but agree to present their work as a body that is continuous, a skeleton made of bones that cooperate with each other, despite any fractures that may arise.<br><br />
'''AM:''' /ko-lek-tiev-ah-vio-ning/ is a type of airplane navigation system that predates modern flight industry. At the time, this method relied on the collective steering of the apparatus and a complex decision making system to decide where to travel and what kind of journey should be experienced. After a few dramatic failures, this experimental form of navigation and exploration was forbidden by the council of airplane industry. It remains active in a few places in the Netherlands, mostly funded by amateur radio associations.<br><br />
<br />
==xpub==<br />
The Experimental Publishing Master of Arts in Fine Art and Design (XPUB) is a two-year course that prepares students to critically engage with societal issues and social practices within the fast changing field of art, design, and cultural production. More specifically, XPUB focuses on the acts of making things public and creating publics in the age of post-digital networks. XPUB’s interests in publishing are therefore twofold: first, publishing as the inquiry and participation into the technological frameworks, political context, and cultural processes through which things are made public; and second, how these are, or can be, used to create publics.<br />
<br />
===Class of 2020===<br />
Simon Browne<br><br />
Paloma García<br><br />
Tancredi di Giovanni<br><br />
Rita Graça<br><br />
Artemis Gryllaki<br><br />
Pedro Sá Couto<br><br />
Biyi Wen<br><br />
Bohye Woo<br><br />
<br />
==acknowledgements==<br />
Our deepest thanks to XPUB staff, to editors and invited guests from Special Issues, to servus.at for borrowed infrastructure, and to Sarah Magnan & Gijs de Heij from Open Source Publishing for working with us on producing this web-to-print publication.<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
[[File:Event_pic.jpg|480px]]<br />
==Introduction==<br />
''Start Up, Burn Out: Life Hacks'' is comprised of two core components, a book titled ''Ten Theses on Life Hacks'', which is an attempt to define criteria for what constitutes a Life Hack, and a device called ''Iris'', which purports to increase productivity in the workplace. ''Ten Theses on Life Hacks'' is meant to provide a widened perspective on Life Hacks and their relationship to our collective experiences and reflections. ''Iris'' aims to provide a real experience to each individual user. Ultimately, its goal is to achieve self-improvement.<br />
<br />
Both components rely on interaction with an end-user; ''Ten Theses on Life Hacks'' is bound by the reader, using a selection from an eclectic range of items so the user should have an active role and design a binding technique through an improvised Life Hack strategy. ''Iris'' requires the presence of the user to be triggered and the subsequent reflection time to be processed by the listener.<br />
<br />
==Publications==<br />
===Ten Theses on Life Hacks===<br />
Life Hacks are small improvisational interventions to the immediate environment; spontaneous actions that aim to improve or adapt materials to specific needs. They are diasporic, shared within communities both on- and offline in ever-increasing processes of self-optimisation. Understanding Life Hacks in the context of an advanced capitalist society raises the question of the ambiguity of a system in which the entrepreneurial routine of the self is internalized to perform an ever-working life. In actuality, Life Hacks bring about the possibility of reappropriating everyday life in a creative and practical response, managing precarity and complexity.<br />
<br />
This publication consists of ten theses, the first of which is a selection of criteria that allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments supported by examples, on how to identify specific features of Life Hacks, in which environment (and space) they exist and what kind of culture they foster.<br />
<br />
<br />
====PDF====<br />
[[File:X theses.pdf]]<br />
<br />
====Photos====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
Ten-theses-pub.jpeg<br />
Ten theses set.png<br />
</gallery><br />
<br />
===Iris===<br />
''(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶''<br />
<br />
''A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.''<br />
<br />
Iris takes the appearance of a manufactured product; a compact 3D-printed shell that contains a Raspberry Pi and two speakers, and at the top of the device, an infinity mirror with an LED strip and a camera. When it detects movement via the camera it starts to speak, and the LEDs, connected to the audio levels of the output, start to glow at a different intensity in relation to the strength of the audio signal. When the device is active, the infinity mirror produces a combination of an endless light corridor and a faint reflection of oneself.<br />
<br />
Iris is a physical device, ostensibly, an “artificial intelligence”, whose aim is to increase productivity. It is installed in work environments where workers can easily interact with it. However, the device is inhabited by three different personalities: Corporate Guru, Pirate Signal and Announcer. The interactions with and conflicts between these three personalities force the user to adopt a reflexive and critical attitude toward the device. The user triggers the performance and is placed in an ambiguous position; doubtful if the emphasis is on productivity or happiness.<br />
<br />
The Corporate Guru invites the user to repeat positive affirmations and invite self-inquiry into their thoughts as part of a meditative session. Its soothing voice is interrupted unexpectedly by the raspy, computerised whisper of a Pirate Signal, who responds with snarky asides that cast doubt on the Guru’s instructions and the very process of taking part in such sessions. Whether the Pirate Signal is part of the corporate manufacturer’s design or not is not clear; it could easily be coming from an outside infiltrator (e.g. a hacktivist) whose aim is to subvert the process. The third voice is of an Announcer, who, every hour, between 9:00 and 17:00 (apart from a lunch break at 13:00), describes a work-related problem and a Life Hack which addresses it, reminding workers of their autonomy and suggesting practical ways to improve their everyday lives in small, improvisational actions.<br />
<br />
====Photos====<br />
<gallery><br />
Iris_01.jpg<br />
Iris_02.jpg<br />
Iris_03.jpg<br />
Iris_04.jpg<br />
Iris_05.jpg<br />
Iris_06.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018.<br />
<br />
A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
=Special Issue 08: The Network we (de)Served=<br />
[[File:INFRASTRUCTOUR-4.jpg|480px]]<br />
==Introduction==<br />
''The Network we (de)Served'' became a site of learning for a group of experimental publishers to explore how networked technologies could become publishing tools. We traversed several layers, from local area networks to the web and the larger internet. We spent time examining different protocols and network concepts such as IP, DNS, HTTP, SSH & XMPP that are inherently part of the networked infrastructures we use every day. Eventually, we moved from using the IP addresses of our home connections, to making use of, and mapping those to domain names acquired at gratis DNS providers, using traceroutes to finding out how we were interconnected with each other, and how to cross-reference these connections with hyperlinks. Sometimes it was frustrating, but mostly it was a lot of fun.<br />
<br />
===The Infrastructour===<br />
''We travelled from home to home by bicycle, setting up homeservers. As friends and companions on this Infrastructour, we studied our routers over drinks served by our hosts. Where possible we installed our servers in our homes, in other cases we had to depend on another member of the group. While self-hosting together we questioned our understandings of networks, autonomy, online publishing and social infrastructures, where each of us departed from a different question. We would like to share our personal (yet interconnected) routes with you, tell you a story, present our web- and printed zines, and invite you to explore our homebrewed network.''<br />
<br />
Out of this work has emerged a series of mixed media publications that are based on the individual experiences, questions and investigations. These publications take the form of handcrafted HTML webzines that exist online on the various self-hosted servers, and offline as their HTML-to-print equivalents. Together they form a distinct set of perspectives on issues ranging from network politics, publishing methods, visualisation, mapping and graphing of human and machine topologies, as well as reflections on online sociality. These distinct perspectives have been grouped in a few categories that the reader can use as a guide through the publication.<br />
<br />
===Categories===<br />
WHAT IS A NETWORK?<br><br />
We discuss questions ranging from the relationship between topology and geography, to the interrelation between technical and social networks. In particular, we are looking at networks of home servers, networks of hosts taking care of these servers, the infrastructure of the city as a network of routes, and the network as a collection of interconnected related topics in our research.<br />
<br />
AUTONOMY AND ITS CONTINGENCIES<br><br />
Gaining agency in a networked through self-hosting can easily be mistaken for autonomy. Indeed, since the very first 'Declaration of Independence of Cyberspace', networked environments have been rife with discussions surrounding free speech, freedom, independence and autonomy. The practice of self-hosting though, simultaneously questions these one-dimensional understandings of autonomy as it opens up questions of materiality, skills, access, privileges and affordance. How can we shift discussions about independence to the understanding of interdependence?<br />
<br />
SOCIAL NETWORKS<br><br />
Thinking about networks should not be limited to discussing their technological infrastructure, but also, to question their social component. This is particularly relevant for social networking platforms that reflect and reinforce established modes of socialisation and subjectivation. How can self-hosting help understand what it means to become a node and relate to others? How can a practical approach to working with network(ed) technologies allow for exploring the inherent forms of sociality found in networking tools?<br />
<br />
NETWORK(ED) PUBLISHING<br><br />
Installing our servers, hosting content on them and building tools that can make use of custom infrastructures allow for the deep integration between writing, editing, annotating and designing content. We were particularly interested in running experiments with building tools for publishing at different speeds: from daily notes and archived conversations to glossaries and long-form essays written over time. How can we publish a network, how can we translate its mechanisms, activities and attitudes?<br />
<br />
MAPPING NETWORKS<br><br />
Finding ways to map or visualise networks quickly became a strategy to question implicit ideals and ideologies found in them. What does it mean to draw relations as direct lines between nodes? How do understandings of a network can change if we don't think in terms of nodes but knots? How to visualise disconnections and inconsistencies? how to map a network as an evolving system? How to think about scale, the spaces between nodes and go beyond the superficiality of buzzwords like (de)centralisation?<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
19 01 20 dependencies.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors: Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Roel Roscam Abbing, Manetta Berends, Lídia Pereira, André Castro, Aymeric Mansoux, Michael Murtaugh, Steve Rushton, Leslie Robbins.<br />
<br />
Brought to you by the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) of the Piet Zwart Institute, and Varia, Centre for Everyday Technology, Rotterdam, April 2019.<br />
<br />
==Publication==<br />
===Publication launch at Varia===<br />
<br />
<gallery><br />
Me.jpg<br />
si8_event1.jpg<br />
si8_event3.jpg<br />
</gallery><br />
<br />
===Web zines===<br />
<gallery><br />
Screenshot_2020-07-02_at_17.05.44.png|Relying on self-hosting and at the same time managing it, Pedro Sá Couto<br />
rita_website_si8.jpg|Alive, fully in motion, unstable, decaying, dying, restarting. Rita Graça<br />
simon_website_si8.png|''From Networks to Knotworks'', Simon Browne. Understanding networks (digital and social) by walking, drawing, serving, mapping.<br />
Artemis_website_si8.png|''Questions on (Social) Networks'', Artemis Gryllaki. Navigating through a collection of articles around social networks.<br />
Cyb_map.png|''A text within a map'', Tancredi Di Giovanni. ''"Then you realize that were there was one thing, actually there are few, and more you zoom into more universes you'll find with billion of ideas"''. <br />
Libraries amongst others.png|''Libraries Amongst Others'', Biyi Wen. A hypertext network mapping the inter-woven intricacies of post-socialist childhood memories. <br />
</gallery><br />
<br />
===Printed zines===<br />
<br />
<gallery><br />
si8_image1.jpg<br />
si8_image7.jpg<br />
Si8 event.jpg<br />
si8_image8.jpg<br />
si8_image2.jpg<br />
si8_image3.jpg<br />
si8_image4.jpg<br />
si8_image_5.jpg<br />
Livingroom.jpg<br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
si8_box3.jpg<br />
si8_image6.jpg<br />
SI8_printed_zines.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
[[File:Workshop.jpg|480px]]<br />
== Introduction ==<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”. In a printed publication of the same title we documented the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
===Workshop descriptions===<br />
''The Library Is Open invites you to an afternoon of workshops that make the operations within libraries visible. Join us in exploring the actions and roles of legal and extra-legal libraries (municipal, pirate, academic, +++), their custodians, and the public that form a community around collections of texts.''<br />
<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
<gallery><br />
File:purplepaper.jpg<br />
File:form_fill.jpg<br />
File:00006.jpg<br />
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File:000010.jpg<br />
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File:000011.jpg<br />
File:000014.jpg<br />
</gallery><br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them? In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library.<br />
<br />
<gallery><br />
thio02.jpg<br />
thio03.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
Pp06.jpg<br />
Performanceletter01.jpg<br />
</gallery><br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Knowledge_in_action1.jpg<br />
Knowledge_in_action2.jpg<br />
Knowledge_in_action3.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Shadow_library.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
===Colophon===<br />
Contributors:<br />
Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Femke Snelting, Biyi Wen, Bohye Woo<br />
<br />
Special thanks to:<br />
Partnering institute Constant (BE), Leezsaal Rotterdam West, Bodó Balázs, Dušan Barok, Anita Burato, André Castro, Aymeric Mansoux, Michael Murtaugh, Martino Morandi, Leslie Robbins, Steve Rushton, Amy Suo Wu, Eva Weinmayr<br />
<br />
==Publication ==<br />
''The Library Is Open'' was printed and published in June 2019 and launched at the 2019 Graduation Show. It includes descriptions, processes and outcomes of the workshops held at Leeszaal Rotterdam West, interviews with Marcell Mars, Dusan Barok, Dubravka Sekulic and librarians of Leeszaal, and an appendix of open letters; guest editor Femke Snelting's introduction to the 2019 iteration of Interfacing the Law, the letter "In Support of Library Genesis and Sci-Hub" from the website custodians.online, and Alexandra Elbakyan's response to the presiding judge in the court case "Elsevier Inc. et al v. Sci-Hub et al".<br />
<br />
<gallery><br />
TLIO 01.png<br />
TLIO 02.png<br />
TLIO 03.png<br />
TLIO 04.png<br />
TLIO 05.png<br />
TLIO 06.png<br />
TLIO 07.png<br />
TLIO 08.png<br />
TLIO 09.jpg<br />
TLIO 10.jpg<br />
TLIO 11.jpg<br />
</gallery><br />
<br />
====PDF====<br />
[[File:The_Library_is_Open.pdf | The Library Is Open PDF]]<br />
<br />
<br />
=Colophon=<br />
''Collectiveioning'' is a publication of work produced within the context of the Master of Arts in Fine Art and Design: Experimental Publishing (XPUB) at the Piet Zwart Institute, Willem de Kooning Academy, Rotterdam.<br />
<br />
Course Director XPUB:<br />
Aymeric Mansoux<br />
<br />
Administration:<br />
Leslie Robbins<br />
<br />
Tutors:<br />
Clara Balaguer, André Castro, Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu<br />
<br />
Thesis supervisors:<br />
Steve Rushton, Marloes de Valk<br />
<br />
Grad project supervisors:<br />
Aymeric Mansoux, Michael Murtaugh, Amy Suo Wu, André Castro, Clara Balaguer<br />
<br />
External examiner 2020:<br />
Marina Otero Vezier<br />
<br />
Research, editing and production:<br />
Simon Browne,<br />
Tancredi di Giovanni,<br />
Paloma García,<br />
Rita Graça,<br />
Artemis Gryllaki,<br />
Pedro Sá Couto,<br />
Biyi Wen,<br />
Bohye Woo<br />
<br />
Licenses:<br />
''the bootleg library'', Simon Browne, 2020. This work is published under the Free Art Licence.<br />
Tancredi di Giovanni<br />
Paloma García<br />
Rita Graça<br />
Syster Systems & Syster Papyri Magicae, Artemis Gryllaki, 2020. This work is published under the Peer Production License (PPL)<br />
Pedro Sá Couto<br />
Biyi Wen<br />
Bohye Woo<br />
<br />
Publisher:<br />
XPUB, Rotterdam<br />
<br />
Print run:<br />
TBD<br />
<br />
Printed at:<br />
TBD<br />
<br />
Bound at:<br />
TBD<br />
<br />
Paper:<br />
TBD<br />
<br />
Typefaces:<br />
TBD<br />
<br />
ISBN:<br />
TBD<br />
<br />
Special Issue Partners:<br />
Constant (Brussels), Het Nieuwe Instituut (Rotterdam), Leeszaal Rotterdam West, Varia (Rotterdam), <br />
<br />
This hybrid publication, ''Collectiveioning'' was realised with the expert help and guidance of Open Source Publishing (Brussels), the benevolent dictatorship of Aymeric Mansoux, the publishing midwifery of Clara Balaguer and Amy Suo Wu and the endless magic spun by Leslie Robbins.<br />
<br />
More information about XPUB projects and Special Issues:<br />
project.xpub.nl<br />
issue.xpub.nl<br />
<br />
Postal Address:<br />
Piet Zwart Institute<br />
Master of Arts in Fine Art and Design:<br />
Experimental Publishing<br />
P.O. Box 1272<br />
3000 BG Rotterdam<br />
The Netherlands<br />
<br />
Visiting address:<br />
Wijnhaven 61<br />
4th floor<br />
3011 WJ Rotterdam <br />
The Netherlands<br />
<br />
=Grad Theses=<br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf | Unravelling Disembodiment]]<br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony: Exploring toxic colonial legacies in Korean digital society]] <br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br><br />
Artemis Gryllaki: [https://project.xpub.nl/syster-papyri-magicae/ Syster Papyri Magicae]<br><br />
Pedro Sá Couto: [https://project.xpub.nl/tactical-watermarks/ Tactical Watermarks]<br><br />
Rita Graça: [https://project.xpub.nl/networks-of-care/ Networks of Care]<br><br />
Tancredi di Giovanni: [https://project.xpub.nl/ilinx/ Ilinx]<br><br />
Paloma García: [https://project.xpub.nl/cartographies-of-counter-speculation/ Cartographies of Counter-Speculation]<br><br />
Biyi Wen: [https://project.xpub.nl/the-repeater-archive/ The Repeater Archive ]<br><br />
Bohye Woo: [https://project.xpub.nl/parallel-colonialism/ Parallel Colonialism]<br><br />
<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Libraries_amongst_others.png&diff=175840File:Libraries amongst others.png2020-07-06T20:20:38Z<p>)biyibiyibiyi(: </p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-07-2020_-Event_1&diff=175449Calendars:Networked Media Calendar/Networked Media Calendar/16-07-2020 -Event 12020-06-29T17:02:05Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB diploma choices, please fill in how you would like to receive your diploma<br />
<br />
Option 1: sign your diploma at the WdKA on either the 16 - 17 of July, a reservation system will be built for those 2-days only. <br />
<br />
* Bohye Woo<br />
* Tancredi Di Giovanni <br />
* Artemis Gryllaki<br />
* Simon Browne<br />
* Biyi Wen<br />
<br />
Option 2: have your diploma's sent to you via the post - this process most likely to start in August. since the building is closed in the summer. [in this process you are sent a copy of the diploma for you to sign, you then need to send it back to the WDKA and they will make the official diploma, transcript, and supplement and send it back to you.]<br />
<br />
<br />
* Rita Graça</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-07-2020_-Event_1&diff=175439Calendars:Networked Media Calendar/Networked Media Calendar/16-07-2020 -Event 12020-06-29T08:19:36Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB diploma choices, please fill in how you would like to receive your diploma<br />
<br />
*Option 1: sign your diploma at the WdKA on either the 16 - 17 of July, a reservation system will be built for those 2-days only. <br />
<br />
*1. Bohye Woo<br />
*2. Tancredi Di Giovanni <br />
<br />
*Option 2: have your diploma's sent to you via the post - this process most likely to start in August. since the building is closed in the summer. [in this process you are sent a copy of the diploma for you to sign, you then need to send it back to the WDKA and they will make the official diploma, transcript, and supplement and send it back to you.]<br />
*1. Biyi Wen</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(&diff=175319User:)biyibiyibiyi(2020-06-22T21:44:38Z<p>)biyibiyibiyi(: /* Grad assessment */</p>
<hr />
<div><div><br />
<h1>www.foshan-1992.pw</h1><br />
<br />
<div class="leftWrapper" <br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"><br />
<h1>Thematic Issues</h1><br />
<div class="issues"<br />
style="margin-top:5%><br />
===[[User:)biyibiyibiyi(/Special Issue 07|Special Issue 07]]===<br />
Quantified Self, Start up culture, Smart Agents<br />
===[[User:)biyibiyibiyi(/Special Issue 08|Special Issue 08]]===<br />
Fediverse, Decentralization, Digital Autonomy and Dependencies<br />
===[[User:)biyibiyibiyi(/Special Issue 09 |Special Issue 09]]===<br />
Shadow Libraries, Copy-Left, Copy-Right, Processes in Knowledge Production and Justification<br />
</div><br />
<br />
<div class="prototypes"<br />
style="margin-top:5%> <br />
<h1>Prototypes</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_02#Jargon_Bot |Jargon Bot]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_02#iPad_Server|DIY Servers]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Configure_VPN_during_summer.3F| Pi-VPN]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Publishing_with_Git.2C_Git_for_Publishing |git for publishing]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#DIY_aero-photography| diy aero-photography]]===<br />
</div><br />
<br />
<div class="RW&RM"<br />
style="margin-top:5%"><br />
<h1> Reading, Writing and Research Methods </h1><br />
===[[User:)biyibiyibiyi(/RW&RM_03|Reading, Writing and Research Methods for developing Knowledge in Action]]===<br />
</div><br />
<br />
<div class="uncategorized"<br />
style="margin-top:5%"> <h1>Snippets</h1><br />
===[[User:)biyibiyibiyi(/Others_03|News and Snippets]]===<br />
</div><br />
<br />
<h1 style="margin-top:5%"> break, recap </h1><br />
==[[User:)biyibiyibiyi(/break| break]]==<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
<br />
<h1>Y2</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_04| Prototyping]]===<br />
====[[User:)biyibiyibiyi(/Prototyping_04#channel_channel|Channel Channel x Contextual Electronics]]====<br />
====[[My_Hackpact_entries_here|hackpacts ]]====<br />
====[[Networking for cats|Networking for cats ]]====<br />
<br />
===[[User:)biyibiyibiyi(/RW&RM_04| Graduate Research Seminar]]===<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_template |Project Proposal Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_0 |Project Proposal 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_1 |Project Proposal 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_0 |Project Proposal 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_1 |Project Proposal 0.1.1]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_template |Thesis Outline Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_0 |Thesis Outline 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_1 |Thesis Outline 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Thesis Outline 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Submission 12.12 Thesis Outline 1.0.0]]====<br />
</div><br />
<br />
<div style="<br />
width: 100%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography |Bibliography trim4]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography_1 |Bibliography trim5]]====<br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/a_bibliography |Annotated Bibliography]]====<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
====[[User:)biyibiyibiyi(/04/extra |extracurricular]]====<br />
====[[User:)biyibiyibiyi(/04/assessment |assessment]]====<br />
</div><br />
====[[User:)biyibiyibiyi(/RW&RM_04/speculation towards decentralization | speculation towards decentralization ]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/grad_project | <h1> grad_project <h1>]]====<br />
[[File:Trim6 presentation high res.pdf|Grad assessment]]<br />
<br />
</div><br />
[[File:P2p-cats.gif]]<br />
<br />
[[Category: Xpub]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(&diff=175318User:)biyibiyibiyi(2020-06-22T21:43:39Z<p>)biyibiyibiyi(: /* grad assessment */</p>
<hr />
<div><div><br />
<h1>www.foshan-1992.pw</h1><br />
<br />
<div class="leftWrapper" <br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"><br />
<h1>Thematic Issues</h1><br />
<div class="issues"<br />
style="margin-top:5%><br />
===[[User:)biyibiyibiyi(/Special Issue 07|Special Issue 07]]===<br />
Quantified Self, Start up culture, Smart Agents<br />
===[[User:)biyibiyibiyi(/Special Issue 08|Special Issue 08]]===<br />
Fediverse, Decentralization, Digital Autonomy and Dependencies<br />
===[[User:)biyibiyibiyi(/Special Issue 09 |Special Issue 09]]===<br />
Shadow Libraries, Copy-Left, Copy-Right, Processes in Knowledge Production and Justification<br />
</div><br />
<br />
<div class="prototypes"<br />
style="margin-top:5%> <br />
<h1>Prototypes</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_02#Jargon_Bot |Jargon Bot]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_02#iPad_Server|DIY Servers]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Configure_VPN_during_summer.3F| Pi-VPN]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Publishing_with_Git.2C_Git_for_Publishing |git for publishing]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#DIY_aero-photography| diy aero-photography]]===<br />
</div><br />
<br />
<div class="RW&RM"<br />
style="margin-top:5%"><br />
<h1> Reading, Writing and Research Methods </h1><br />
===[[User:)biyibiyibiyi(/RW&RM_03|Reading, Writing and Research Methods for developing Knowledge in Action]]===<br />
</div><br />
<br />
<div class="uncategorized"<br />
style="margin-top:5%"> <h1>Snippets</h1><br />
===[[User:)biyibiyibiyi(/Others_03|News and Snippets]]===<br />
</div><br />
<br />
<h1 style="margin-top:5%"> break, recap </h1><br />
==[[User:)biyibiyibiyi(/break| break]]==<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
<br />
<h1>Y2</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_04| Prototyping]]===<br />
====[[User:)biyibiyibiyi(/Prototyping_04#channel_channel|Channel Channel x Contextual Electronics]]====<br />
====[[My_Hackpact_entries_here|hackpacts ]]====<br />
====[[Networking for cats|Networking for cats ]]====<br />
<br />
===[[User:)biyibiyibiyi(/RW&RM_04| Graduate Research Seminar]]===<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_template |Project Proposal Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_0 |Project Proposal 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_1 |Project Proposal 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_0 |Project Proposal 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_1 |Project Proposal 0.1.1]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_template |Thesis Outline Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_0 |Thesis Outline 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_1 |Thesis Outline 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Thesis Outline 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Submission 12.12 Thesis Outline 1.0.0]]====<br />
</div><br />
<br />
<div style="<br />
width: 100%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography |Bibliography trim4]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography_1 |Bibliography trim5]]====<br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/a_bibliography |Annotated Bibliography]]====<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
====[[User:)biyibiyibiyi(/04/extra |extracurricular]]====<br />
====[[User:)biyibiyibiyi(/04/assessment |assessment]]====<br />
</div><br />
====[[User:)biyibiyibiyi(/RW&RM_04/speculation towards decentralization | speculation towards decentralization ]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/grad_project | <h1> grad_project <h1>]]====<br />
====[[File:Trim6 presentation high res.pdf|Grad assessment]]====<br />
</div><br />
[[File:P2p-cats.gif]]<br />
<br />
[[Category: Xpub]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(&diff=175317User:)biyibiyibiyi(2020-06-22T21:43:10Z<p>)biyibiyibiyi(: </p>
<hr />
<div><div><br />
<h1>www.foshan-1992.pw</h1><br />
<br />
<div class="leftWrapper" <br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"><br />
<h1>Thematic Issues</h1><br />
<div class="issues"<br />
style="margin-top:5%><br />
===[[User:)biyibiyibiyi(/Special Issue 07|Special Issue 07]]===<br />
Quantified Self, Start up culture, Smart Agents<br />
===[[User:)biyibiyibiyi(/Special Issue 08|Special Issue 08]]===<br />
Fediverse, Decentralization, Digital Autonomy and Dependencies<br />
===[[User:)biyibiyibiyi(/Special Issue 09 |Special Issue 09]]===<br />
Shadow Libraries, Copy-Left, Copy-Right, Processes in Knowledge Production and Justification<br />
</div><br />
<br />
<div class="prototypes"<br />
style="margin-top:5%> <br />
<h1>Prototypes</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_02#Jargon_Bot |Jargon Bot]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_02#iPad_Server|DIY Servers]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Configure_VPN_during_summer.3F| Pi-VPN]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#Publishing_with_Git.2C_Git_for_Publishing |git for publishing]]===<br />
===[[User:)biyibiyibiyi(/Prototyping_03#DIY_aero-photography| diy aero-photography]]===<br />
</div><br />
<br />
<div class="RW&RM"<br />
style="margin-top:5%"><br />
<h1> Reading, Writing and Research Methods </h1><br />
===[[User:)biyibiyibiyi(/RW&RM_03|Reading, Writing and Research Methods for developing Knowledge in Action]]===<br />
</div><br />
<br />
<div class="uncategorized"<br />
style="margin-top:5%"> <h1>Snippets</h1><br />
===[[User:)biyibiyibiyi(/Others_03|News and Snippets]]===<br />
</div><br />
<br />
<h1 style="margin-top:5%"> break, recap </h1><br />
==[[User:)biyibiyibiyi(/break| break]]==<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
<br />
<h1>Y2</h1><br />
===[[User:)biyibiyibiyi(/Prototyping_04| Prototyping]]===<br />
====[[User:)biyibiyibiyi(/Prototyping_04#channel_channel|Channel Channel x Contextual Electronics]]====<br />
====[[My_Hackpact_entries_here|hackpacts ]]====<br />
====[[Networking for cats|Networking for cats ]]====<br />
<br />
===[[User:)biyibiyibiyi(/RW&RM_04| Graduate Research Seminar]]===<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_template |Project Proposal Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_0 |Project Proposal 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_0_1 |Project Proposal 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_0 |Project Proposal 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/proposal_0_1_1 |Project Proposal 0.1.1]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_template |Thesis Outline Template]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_0 |Thesis Outline 0.0.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_0_1 |Thesis Outline 0.0.1]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Thesis Outline 0.1.0]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/thesis_o_0_1_0 |Submission 12.12 Thesis Outline 1.0.0]]====<br />
</div><br />
<br />
<div style="<br />
width: 100%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography |Bibliography trim4]]====<br />
====[[User:)biyibiyibiyi(/RW&RM_04/bibliography_1 |Bibliography trim5]]====<br />
<br />
====[[User:)biyibiyibiyi(/RW&RM_04/a_bibliography |Annotated Bibliography]]====<br />
</div><br />
<br />
<div class=rightWrapper<br />
style="<br />
width: 45%;<br />
float: left;<br />
margin-right: 2%;<br />
" > <br />
====[[User:)biyibiyibiyi(/04/extra |extracurricular]]====<br />
====[[User:)biyibiyibiyi(/04/assessment |assessment]]====<br />
</div><br />
====[[User:)biyibiyibiyi(/RW&RM_04/speculation towards decentralization | speculation towards decentralization ]]====<br />
<br />
</div><br />
<br />
<div style="<br />
width: 35%;<br />
float: left;<br />
margin-right: 2%;<br />
padding:2%;<br />
"<br />
><br />
====[[User:)biyibiyibiyi(/grad_project | <h1> grad_project <h1>]]====<br />
====[[File:Trim6 presentation high res.pdf|<h1> grad assessment<h1>]]====<br />
</div><br />
[[File:P2p-cats.gif]]<br />
<br />
[[Category: Xpub]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Trim6_presentation_high_res.pdf&diff=175316File:Trim6 presentation high res.pdf2020-06-22T21:41:29Z<p>)biyibiyibiyi(: </p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/23-06-2020_-Event_5&diff=174960Calendars:Networked Media Calendar/Networked Media Calendar/23-06-2020 -Event 52020-06-19T08:56:17Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: Final Assessment 09:30 - 18:10 with Amy Suo Wu, Aymeric Mansoux, Michael Murtaugh, Steve Rushton and Marina Otero Vezier as external examiner, in <br />
platform and schedule to follow<br />
<br />
*09:30 - 10:00 - staff meets <br />
*10:00 - 10:40 Pedro<br />
*10:50 - 11:30 Bo<br />
*11:30 - 11:50 20 minute break<br />
*11:50 - 12:30 Rita<br />
*12:40 - 13:20 Artemis (Option 2)<br />
*13:20 - 14:20 lunch<br />
*14:20 - 15:00 Biyi (Option 2)<br />
*15:10 - 15:50 Paloma<br />
*15:50 - 16:10 20 minute break<br />
*16:10 - 16:50 Simon (Option 2)<br />
*17:00 - 17:40<br />
*17:40 - 18:10 - staff discussion <br />
<br />
*Please upload your XPUB1&2 presentation text, graduation project documentation and thesis here at the latest Friday 19 @ June 23:55:<br />
https://hrnl.sharepoint.com/sites/WdKA-XPub/Shared%20Documents/Forms/AllItems.aspx?csf=1&e=y5gqRO&cid=c12ee761%2Da3e9%2D43c0%2D93ed%2Dcabf54422490&FolderCTID=0x012000AC5464400751B44F88C88D1B1D3AE042&viewid=e14ca528%2D7cdc%2D46e3%2Dbabb%2Dc8a8797f2268&id=%2Fsites%2FWdKA%2DXPub%2FShared%20Documents%2FLB%2DXPUB%2DArchive%2FMFAD%5Ftrim1%2D6%5FStudent%5FWork%5FArchive%5F2018%2D2020%2FXPUB%2FWDK12M%2DMAM%2DV4%5F49114%5F99%2DMMDV%5FXPUB%5Ftrim6%5F2018%2D2020<br />
*++++++=== as taken from the Curriculum_adaptations_in_relation_to_COVID-19-V1.0_XPUB docuementto the Handbook 2020 -2021<br />
<br />
*TRIMESTER 6 FINAL ASSESSMENT<br />
<br />
All the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the course director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
The overall process has been unchanged; however, some aspects of what material is assessed and how it will be assessed have been modified:<br />
• The final assessment will be done online via a video chat.<br />
• In agreement with the second years students, the final assessment date was shifted from 16<br />
June to 23 June.<br />
• The delivery of material for the archive, and for the reviewing by the external examiner, has been delayed as much as possible to maximize the amount of time you have left to work on graduation work.<br />
• As usual, it is expected to have an overall presentation of the your work and research throughout the two years in the programme, namely: 1. your individual contribution to the special issues, 2. the development of your reading/writing practice, 3. the development of your prototyping practice, 4. your thesis (for the thesis we only expect a brief overview for context, as this is assessed separately in more depth), and 5. your final work and research in the second year. However, due to the current situation that has significantly impaired the material means to produce the final work and possibly affected its associated research, we offer three options to present and discuss point 5. These options will significantly determine the final form and content of your second-year graduation work:<br />
* Option 1: the work and research were unaffected, or barely affected by the situation, it is therefore presented and made available in the same conditions as originally<br />
planned. For instance: the work exists as a digital object and was meant to be published online since the beginning.<br />
* Option 2: the work and research were partly affected by the situation; it was therefore necessary to adapt it into a more suitable format and possibly change plans to replace some components with more suitable ones. For instance: a part of the work involved IRL participation of communities, IRL access to specific locations that are now closed, or for which the “1.5m rules” makes it impossible to follow the original plan. However other aspects of the work have been unchanged and unaffected.<br />
* Option 3: the work and research were fully affected by the situation; simply put it’s not possible to finalize the work and research in any way. As a result, what is presented are: the original concept, the process so far, the thorough documentation of sketches and prototypes, and possible future developments. For instance: the final work solely relies on IRL participation and activities and there is absolutely no possibility to adapt it without making the whole project meaningless or irrelevant.<br />
It is important that during the assessment you explicitly announce which strategy you chose, and briefly support the reasoning behind such choice. Do not make this choice on your own! It is important that this decision is made and approved in discussion with the two dedicated tutors who are supervising your final work and can provide supplementary insight on such decisions during the jury deliberation, especially in the situation where others may raise concerns or issues with the point 5 of your presentation.<br />
*++++++++ taken from the XPUB Handbook 2019-2020, pages 28 - 29<br />
<br />
1.1.7 Integrated Summative Assessment: Graduate Project/Thesis (Trimester 6)<br />
<br />
**The third and final integrated assessment is held at the end of trimester 6. At this juncture students are expected to prepare and deliver a formal presentation of their finished Graduation Project and related graduation thesis. Passing this integrated formative assessment allows the ECTS for fifth and sixth terms to be awarded.<br />
<br />
**The Graduation Project should demonstrate the insights and experiences gained throughout the program and to translate their implications into individual work and working methods. In this process, students are expected to be able to not only produce new work, but also to develop a strong sense of the criteria that are crucial for the evaluation and development of their own creative work. <br />
<br />
Assessment Criteria for a Graduation Project <br />
<br />
**The graduation project should result in a presentation of new work, that combined with the thesis demonstrates the student’s attainment of the agreed learning outcomes (as laid out in the Course handbook Section 3.2 ). In this way the programmes’ agreed Final Competencies from the basis of the Assessment Criteria for a Graduation Project at a Master level.<br />
<br />
*1. Creative ability: They have developed the independent learning ability required to create innovative, challenging, significant, and coherent projects that are based on clearly articulated approaches and intention.<br />
*2. Capacity to conduct self-directed research: They can identify relevant subject matter, questions, and formulate distinct areas of research.<br />
*3. Research methodologies: They can harness skills of research, analysis and synthesis to the development of creative projects.<br />
*4. Technical fluency: They can demonstrate an analytical grasp of the underlying technical and conceptual principles of practices relevant to their field and work.<br />
*5. Organisational skills: They have the capacity to design, manage and execute effectively, complex and creative projects on their own or in collaboration with others, which bring together original combinations of media forms.<br />
*6. Capacity for innovation: They have developed flexible work practices that can be employed in a wide variety of production contexts and have the technical conceptual skills for dealing with new forms and unforeseen challenges.<br />
*7. Critical reflection and awareness of context: They can critically reflect on relevant issues related to a larger social context and make informed decisions about the positioning of their work and methods of production. This critical reflection should be expressed through both practice, and verbal analysis of intention: reflections on process and creative output.<br />
*8. Communication skills: They can communicate their intention, context, process, and perceived results– with clear written and oral descriptions to both experts and general audiences.<br />
<br />
<br />
6 Assessment Procedure<br />
6.1 Integrated Assessments: <br />
**As described above, all the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the Course Director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
<br />
Prior to the assessment process you must archive documentation and elements of the work and research you wish to submit for examination. We will not pass people who have not delivered appropriate documentation of their work on time. See http://pzwiki.wdka.nl/mediadesign/Archive_Protocol for archiving instructions.</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/23-06-2020_-Event_5&diff=174847Calendars:Networked Media Calendar/Networked Media Calendar/23-06-2020 -Event 52020-06-18T13:15:28Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: Final Assessment 09:30 - 18:10 with Amy Sou Wu, Aymeric Mansoux, Michael Murtaugh, Steve Rushton and Marina Otero Vezier as external examiner, in <br />
platform and schedule to follow<br />
<br />
*09:30 - 10:00 - staff meets <br />
*10:00 - 10:40 Pedro<br />
*10:50 - 11:30 Bo<br />
*11:30 - 11:50 20 minute break<br />
*11:50 - 12:30 Rita<br />
*12:40 - 13:20<br />
*13:20 - 14:20 lunch<br />
*14:20 - 15:00 Biyi<br />
*15:10 - 15:50<br />
*15:50 - 16:10 20 minute break<br />
*16:10 - 16:50<br />
*17:00 - 17:40<br />
*17:40 - 18:10 - staff discussion <br />
<br />
*Please upload your XPUB1&2 presentation text, graduation project documentation and thesis here at the latest Friday 19 @ June 23:55:<br />
https://hrnl.sharepoint.com/sites/WdKA-XPub/Shared%20Documents/Forms/AllItems.aspx?csf=1&e=y5gqRO&cid=c12ee761%2Da3e9%2D43c0%2D93ed%2Dcabf54422490&FolderCTID=0x012000AC5464400751B44F88C88D1B1D3AE042&viewid=e14ca528%2D7cdc%2D46e3%2Dbabb%2Dc8a8797f2268&id=%2Fsites%2FWdKA%2DXPub%2FShared%20Documents%2FLB%2DXPUB%2DArchive%2FMFAD%5Ftrim1%2D6%5FStudent%5FWork%5FArchive%5F2018%2D2020%2FXPUB%2FWDK12M%2DMAM%2DV4%5F49114%5F99%2DMMDV%5FXPUB%5Ftrim6%5F2018%2D2020<br />
*++++++=== as taken from the Curriculum_adaptations_in_relation_to_COVID-19-V1.0_XPUB docuementto the Handbook 2020 -2021<br />
<br />
*TRIMESTER 6 FINAL ASSESSMENT<br />
<br />
All the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the course director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
The overall process has been unchanged; however, some aspects of what material is assessed and how it will be assessed have been modified:<br />
• The final assessment will be done online via a video chat.<br />
• In agreement with the second years students, the final assessment date was shifted from 16<br />
June to 23 June.<br />
• The delivery of material for the archive, and for the reviewing by the external examiner, has been delayed as much as possible to maximize the amount of time you have left to work on graduation work.<br />
• As usual, it is expected to have an overall presentation of the your work and research throughout the two years in the programme, namely: 1. your individual contribution to the special issues, 2. the development of your reading/writing practice, 3. the development of your prototyping practice, 4. your thesis (for the thesis we only expect a brief overview for context, as this is assessed separately in more depth), and 5. your final work and research in the second year. However, due to the current situation that has significantly impaired the material means to produce the final work and possibly affected its associated research, we offer three options to present and discuss point 5. These options will significantly determine the final form and content of your second-year graduation work:<br />
* Option 1: the work and research were unaffected, or barely affected by the situation, it is therefore presented and made available in the same conditions as originally<br />
planned. For instance: the work exists as a digital object and was meant to be published online since the beginning.<br />
* Option 2: the work and research were partly affected by the situation; it was therefore necessary to adapt it into a more suitable format and possibly change plans to replace some components with more suitable ones. For instance: a part of the work involved IRL participation of communities, IRL access to specific locations that are now closed, or for which the “1.5m rules” makes it impossible to follow the original plan. However other aspects of the work have been unchanged and unaffected.<br />
* Option 3: the work and research were fully affected by the situation; simply put it’s not possible to finalize the work and research in any way. As a result, what is presented are: the original concept, the process so far, the thorough documentation of sketches and prototypes, and possible future developments. For instance: the final work solely relies on IRL participation and activities and there is absolutely no possibility to adapt it without making the whole project meaningless or irrelevant.<br />
It is important that during the assessment you explicitly announce which strategy you chose, and briefly support the reasoning behind such choice. Do not make this choice on your own! It is important that this decision is made and approved in discussion with the two dedicated tutors who are supervising your final work and can provide supplementary insight on such decisions during the jury deliberation, especially in the situation where others may raise concerns or issues with the point 5 of your presentation.<br />
*++++++++ taken from the XPUB Handbook 2019-2020, pages 28 - 29<br />
<br />
1.1.7 Integrated Summative Assessment: Graduate Project/Thesis (Trimester 6)<br />
<br />
**The third and final integrated assessment is held at the end of trimester 6. At this juncture students are expected to prepare and deliver a formal presentation of their finished Graduation Project and related graduation thesis. Passing this integrated formative assessment allows the ECTS for fifth and sixth terms to be awarded.<br />
<br />
**The Graduation Project should demonstrate the insights and experiences gained throughout the program and to translate their implications into individual work and working methods. In this process, students are expected to be able to not only produce new work, but also to develop a strong sense of the criteria that are crucial for the evaluation and development of their own creative work. <br />
<br />
Assessment Criteria for a Graduation Project <br />
<br />
**The graduation project should result in a presentation of new work, that combined with the thesis demonstrates the student’s attainment of the agreed learning outcomes (as laid out in the Course handbook Section 3.2 ). In this way the programmes’ agreed Final Competencies from the basis of the Assessment Criteria for a Graduation Project at a Master level.<br />
<br />
*1. Creative ability: They have developed the independent learning ability required to create innovative, challenging, significant, and coherent projects that are based on clearly articulated approaches and intention.<br />
*2. Capacity to conduct self-directed research: They can identify relevant subject matter, questions, and formulate distinct areas of research.<br />
*3. Research methodologies: They can harness skills of research, analysis and synthesis to the development of creative projects.<br />
*4. Technical fluency: They can demonstrate an analytical grasp of the underlying technical and conceptual principles of practices relevant to their field and work.<br />
*5. Organisational skills: They have the capacity to design, manage and execute effectively, complex and creative projects on their own or in collaboration with others, which bring together original combinations of media forms.<br />
*6. Capacity for innovation: They have developed flexible work practices that can be employed in a wide variety of production contexts and have the technical conceptual skills for dealing with new forms and unforeseen challenges.<br />
*7. Critical reflection and awareness of context: They can critically reflect on relevant issues related to a larger social context and make informed decisions about the positioning of their work and methods of production. This critical reflection should be expressed through both practice, and verbal analysis of intention: reflections on process and creative output.<br />
*8. Communication skills: They can communicate their intention, context, process, and perceived results– with clear written and oral descriptions to both experts and general audiences.<br />
<br />
<br />
6 Assessment Procedure<br />
6.1 Integrated Assessments: <br />
**As described above, all the integrated assessments, both formative and summative, involve a formal presentation to a panel of tutors across both the specialisations of the course and chaired by the Course Director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the summative assessments.<br />
<br />
Prior to the assessment process you must archive documentation and elements of the work and research you wish to submit for examination. We will not pass people who have not delivered appropriate documentation of their work on time. See http://pzwiki.wdka.nl/mediadesign/Archive_Protocol for archiving instructions.</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/12-06-2020_-Event_1&diff=173858Calendars:Networked Media Calendar/Networked Media Calendar/12-06-2020 -Event 12020-06-09T20:19:47Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2 tutorials with Andre on https://meet.jit.si/xpub2-Andre<br />
<br />
* 11:00 - 12:00 - bo<br />
* 12:10 - 13:10 - biyi<br />
* 13:20 - 14:20 - <br />
* 14:30 - 15:30 -</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/18-06-2020_-Event_1&diff=173857Calendars:Networked Media Calendar/Networked Media Calendar/18-06-2020 -Event 12020-06-09T20:02:40Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: 13h-1730h With Amy <br />
https://meet.jit.si/socsoc <br><br />
<br />
Slot 1 ---- 13:00-14:00 Paloma<br />
<br />
Slot 2 ---- 14:00-15:00 Biyi<br />
<br />
Break<br />
<br />
Slot 3 ---- 15:30-16:30h<br />
<br />
Slot 4 ---- 16:30-17:30h Artemis</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/11-06-2020_-Event_3&diff=173308Calendars:Networked Media Calendar/Networked Media Calendar/11-06-2020 -Event 32020-06-04T07:33:57Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: 13h-1730h With Amy https://meet.jit.si/socsoc<br />
<br />
Slot 1 ---- 13:00-14:00 Biyi<br />
<br />
Slot 2 ---- 14:00-15:00<br />
<br />
Break<br />
<br />
Slot 3 ---- 15:30-16:30h<br />
<br />
Slot 4 ---- 16:30-17:30h</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/15-06-2020_-Event_3&diff=173300Calendars:Networked Media Calendar/Networked Media Calendar/15-06-2020 -Event 32020-06-03T17:04:51Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB 2: Tutorials w Clara https://meet.jit.si/tobedetermined<br />
<br />
<br />
Slot 1 ---- 12:00-13:00 <br />
<br />
Slot 2 ---- 13:00-14:00 Rita<br />
<br />
Break<br />
<br />
Slot 3 ---- 14:30-15:30h</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/15-06-2020_-Event_3&diff=173290Calendars:Networked Media Calendar/Networked Media Calendar/15-06-2020 -Event 32020-06-03T09:16:11Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB 2: Tutorials w Clara https://meet.jit.si/tobedetermined<br />
<br />
<br />
Slot 1 ---- 12:00-13:00 Biyi<br />
<br />
Slot 2 ---- 13:00-14:00 Rita<br />
<br />
Break<br />
<br />
Slot 3 ---- 14:30-15:30h</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-06-2020_-Event_4&diff=173289Calendars:Networked Media Calendar/Networked Media Calendar/17-06-2020 -Event 42020-06-03T09:14:46Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: tutorials with Michael https://hotline.xpub.nl/serenity<br />
<br />
''nb: morning slots 80 minutes''<br />
<br />
* 10:00 - 11:20 Paloma<br />
* 11:30 - 12:50 Biyi<br />
<br />
''nb: afternoon slots 50 minutes''<br />
<br />
* 14:00 - 14:50 Simon<br />
* 15:00 - 15:50 <br />
* 16:00 - 16:50 <br />
* 17:00 - 17:50</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/10-06-2020_-Event_3&diff=173288Calendars:Networked Media Calendar/Networked Media Calendar/10-06-2020 -Event 32020-06-03T09:14:30Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: tutorials with Michael https://hotline.xpub.nl/serenity<br />
<br />
''nb: morning slots 80 minutes''<br />
<br />
* 10:00 - 11:20 Simon<br />
* 11:30 - 12:50 Bo<br />
<br />
''nb: afternoon slots 50 minutes''<br />
<br />
* 14:00 - 14:50 Pedro<br />
* 15:00 - 15:50 Paloma<br />
* 16:00 - 16:50 Artemis<br />
* 17:00 - 17:50 Biyi</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/05-06-2020_-Event_1&diff=172949Calendars:Networked Media Calendar/Networked Media Calendar/05-06-2020 -Event 12020-05-28T08:45:37Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: Tutorials with Andre<br />
<br />
-Biyi</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/03-06-2020_-Event_2&diff=172934Calendars:Networked Media Calendar/Networked Media Calendar/03-06-2020 -Event 22020-05-27T13:29:50Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: 13h-1730h With Amy <br />
https://meet.jit.si/socsoc <br><br />
<br />
Slot 1 ---- 13:00-14:00 — Pedro<br />
<br />
Slot 2 ---- 14:00-15:00 Biyi<br />
<br />
Break<br />
<br />
Slot 3 ---- 15:30-16:30h<br />
<br />
Slot 4 ---- 16:30-17:30h</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/03-06-2020_-Event_3&diff=172933Calendars:Networked Media Calendar/Networked Media Calendar/03-06-2020 -Event 32020-05-27T13:29:33Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: tutorials with Michael https://hotline.xpub.nl/serenity<br />
<br />
''nb: morning slots 80 minutes''<br />
<br />
* 10:00 - 11:20 Simon<br />
* 11:30 - 12:50 biyi<br />
<br />
''nb: afternoon slots 50 minutes''<br />
<br />
* 14:00 - 14:50 Paloma<br />
* 15:00 - 15:50 Artemis<br />
* 16:00 - 16:50 <br />
* 17:00 - 17:50</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/27-05-2020_-Event_4&diff=172355Calendars:Networked Media Calendar/Networked Media Calendar/27-05-2020 -Event 42020-05-23T15:23:39Z<p>)biyibiyibiyi(: </p>
<hr />
<div>XPUB2: 13h-1730h With Amy <br />
https://meet.jit.si/socsoc <br><br />
<br />
Slot 1 ---- 13:00-14:00<br />
<br />
Slot 2 ---- 14:00-15:00 — Biyi<br />
<br />
Break<br />
<br />
Slot 3 ---- 15:30-16:30h - Paloma<br />
<br />
Slot 4 ---- 16:30-17:30h - Artemis</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=172136C o l l e c t i v e i o n i n g2020-05-20T20:17:20Z<p>)biyibiyibiyi(: /* Grad Theses */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
==Introduction==<br />
===''Ten Theses on Life Hacks'' publication===<br />
Life Hacks in general aren’t taken too seriously. The ten theses in this document are meant to provide a widened perspective on Life Hacks, and on their relationship to our collective experiences and reflections. The criteria listed in first thesis allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments, supported by examples, that identify specific features of Life Hacks, the environments they exist within, and the kind of culture they foster. This publication’s format incorporates the Life Hack ethos. With the addition of a series of holes, each loose page can be seen as a hackable surface. We invite you to collate and bind them, making an eclectic choice from a range of unorthodox materials.<br />
====Photos of Ten Theses on Life Hacks====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
</gallery><br />
<br />
===IRIS===<br />
(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶<br />
<br />
A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.<br />
Iris: Version 0.5<br />
<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018. A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
====Photos of IRIS====<br />
<br />
<gallery><br />
Event_pic.jpg<br />
Lifehacks_time.jpg<br />
</gallery><br />
<br />
=Special Issue 08: The Network We (de)Served=<br />
==Introduction==<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
</gallery><br />
<br />
==Event==<br />
<br />
<gallery><br />
Livingroom.jpg<br />
Me.jpg<br />
</gallery><br />
<br />
==''The Network We (de)Served'' publication==<br />
===Web zines===<br />
===Printed zines===<br />
<br />
<gallery><br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
Pub.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
== Introduction ==<br />
===''The Library Is Open'' workshops===<br />
Dear readers,<br />
<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”.In the following pages we invite you to wander through the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
Knowledge In Action explores the roles and activities within libraries, such as selection and inclusion of books. <br />
Interviews with: Dubravka Sekulić & Ronny and Laura, two Leeszaal staff.<br />
<br />
Blurry Boundaries reveals the hidden processes and labour between the publishing and distribution of physical and digital books. <br />
Interview with: Dušan Barok.<br />
<br />
Marginal Conversations highlights the sociality of texts, and how they can become conversations through collective reading, annotation and performance.<br />
Interview with: Marcell Mars.<br />
<br />
Yours in piracy, XPUB<br />
<br />
===Workshop descriptions===<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them?In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library<br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
== ''The Library Is Open'' Publication ==<br />
== Photos of workshops ==<br />
<br />
[[File:Workshop.jpg|frameless]]<br />
<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
<gallery><br />
thio01.jpg<br />
thio02.jpg<br />
thio03.jpg<br />
thio04.jpg<br />
thio05.jpg<br />
thio06.jpg<br />
thio07.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
thio11.jpg<br />
thio12.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Categories.jpg<br />
</gallery><br />
<br />
== Images of workshop outcomes ==<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
Transcription of recorded annotation performance at Leeszaal<br />
<gallery><br />
File:performanceletter01.jpg<br />
File:performanceletter02.jpg<br />
File:performanceletter03.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Keep.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Cards2.jpg<br />
Shadow_library.jpg<br />
Shadow_librarian.jpg<br />
Researcher.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
=Grad Theses=<br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony]] <br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf | Unravelling Disembodiment]]<br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=172135C o l l e c t i v e i o n i n g2020-05-20T20:17:03Z<p>)biyibiyibiyi(: /* Grad Theses */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
==Introduction==<br />
===''Ten Theses on Life Hacks'' publication===<br />
Life Hacks in general aren’t taken too seriously. The ten theses in this document are meant to provide a widened perspective on Life Hacks, and on their relationship to our collective experiences and reflections. The criteria listed in first thesis allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments, supported by examples, that identify specific features of Life Hacks, the environments they exist within, and the kind of culture they foster. This publication’s format incorporates the Life Hack ethos. With the addition of a series of holes, each loose page can be seen as a hackable surface. We invite you to collate and bind them, making an eclectic choice from a range of unorthodox materials.<br />
====Photos of Ten Theses on Life Hacks====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
</gallery><br />
<br />
===IRIS===<br />
(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶<br />
<br />
A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.<br />
Iris: Version 0.5<br />
<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018. A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
====Photos of IRIS====<br />
<br />
<gallery><br />
Event_pic.jpg<br />
Lifehacks_time.jpg<br />
</gallery><br />
<br />
=Special Issue 08: The Network We (de)Served=<br />
==Introduction==<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
</gallery><br />
<br />
==Event==<br />
<br />
<gallery><br />
Livingroom.jpg<br />
Me.jpg<br />
</gallery><br />
<br />
==''The Network We (de)Served'' publication==<br />
===Web zines===<br />
===Printed zines===<br />
<br />
<gallery><br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
Pub.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
== Introduction ==<br />
===''The Library Is Open'' workshops===<br />
Dear readers,<br />
<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”.In the following pages we invite you to wander through the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
Knowledge In Action explores the roles and activities within libraries, such as selection and inclusion of books. <br />
Interviews with: Dubravka Sekulić & Ronny and Laura, two Leeszaal staff.<br />
<br />
Blurry Boundaries reveals the hidden processes and labour between the publishing and distribution of physical and digital books. <br />
Interview with: Dušan Barok.<br />
<br />
Marginal Conversations highlights the sociality of texts, and how they can become conversations through collective reading, annotation and performance.<br />
Interview with: Marcell Mars.<br />
<br />
Yours in piracy, XPUB<br />
<br />
===Workshop descriptions===<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them?In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library<br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
== ''The Library Is Open'' Publication ==<br />
== Photos of workshops ==<br />
<br />
[[File:Workshop.jpg|frameless]]<br />
<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
<gallery><br />
thio01.jpg<br />
thio02.jpg<br />
thio03.jpg<br />
thio04.jpg<br />
thio05.jpg<br />
thio06.jpg<br />
thio07.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
thio11.jpg<br />
thio12.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Categories.jpg<br />
</gallery><br />
<br />
== Images of workshop outcomes ==<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
Transcription of recorded annotation performance at Leeszaal<br />
<gallery><br />
File:performanceletter01.jpg<br />
File:performanceletter02.jpg<br />
File:performanceletter03.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Keep.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Cards2.jpg<br />
Shadow_library.jpg<br />
Shadow_librarian.jpg<br />
Researcher.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
=Grad Theses=<br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony]] <br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen: [[Media: Biyi Wen Thesis.pdf]]|Unravelling Disembodiment]]<br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=C_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g&diff=172134C o l l e c t i v e i o n i n g2020-05-20T20:16:46Z<p>)biyibiyibiyi(: /* Grad Theses */</p>
<hr />
<div>Here is c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g page for collecting all materials we produced :)<br />
<br />
=Special Issue 07: Start up, Burn Out: Life Hacks=<br />
==Introduction==<br />
===''Ten Theses on Life Hacks'' publication===<br />
Life Hacks in general aren’t taken too seriously. The ten theses in this document are meant to provide a widened perspective on Life Hacks, and on their relationship to our collective experiences and reflections. The criteria listed in first thesis allow us to test whether something is a Life Hack or not. The remaining theses present extended arguments, supported by examples, that identify specific features of Life Hacks, the environments they exist within, and the kind of culture they foster. This publication’s format incorporates the Life Hack ethos. With the addition of a series of holes, each loose page can be seen as a hackable surface. We invite you to collate and bind them, making an eclectic choice from a range of unorthodox materials.<br />
====Photos of Ten Theses on Life Hacks====<br />
<br />
<gallery><br />
Xtheses.jpg<br />
Specialissue11.jpg<br />
</gallery><br />
<br />
===IRIS===<br />
(^_^) Take your time to reflect on this: Are you doing what you truly want to do? (^_^) iš thiš Þ@rt øf yøur jøb ðéšcriÞtiøπ? (^_^) If happiness is a currency, how rich do you think you are? (^_^) ¶ FIX WOBBLY OFFICE FURNITURE BY USING OLD CDS TO AVOID WOBBLES AND PROTECT THE CARPET. THEY ALSO MAKE GREAT COASTERS.¶<br />
<br />
A shady corporation is trying to take control of a fluid, chaotic global market. Workers surrender themselves to a seductive new device called Iris, which purports to enlighten them and unleash the real power of the entrepreneurial self. Iris is designed to help full-time, part-time and zero-time employees cope with the complexity of modern life, divulging secrets of the precarious worker, of autonomy and maximum efficiency through a new magic formula contained in the meaning of Life Hacks. But… anonymous cyber-pirates are exploiting the device to rouse a cry of rebellion against this oppressive society of self-management. Discover the paradox buried deep within Iris, where autonomy leads to subjugation, and subjugation appears as freedom.<br />
Iris: Version 0.5<br />
<br />
Contributors: Gill Baldwin, Simon Browne, Tancredi Di Giovanni, Paloma García, Rita Graça, Artemis Gryllaki, Pedro Sá Couto, Biyi Wen, Bohye Woo, Silvio Lorusso, Aymeric Mansoux, André Castro, Steve Rushton, Michael Murtaugh, Leslie Robbins. Produced and published by the Experimental Publishing (XPUB) program of the Piet Zwart Institute, Rotterdam, December 2018. A collaboration between the Research Department of Het Nieuwe Instituut and XPUB.<br />
<br />
====Photos of IRIS====<br />
<br />
<gallery><br />
Event_pic.jpg<br />
Lifehacks_time.jpg<br />
</gallery><br />
<br />
=Special Issue 08: The Network We (de)Served=<br />
==Introduction==<br />
<br />
<gallery><br />
Specialissue8.jpg<br />
INFRASTRUCTOUR_01.jpg<br />
</gallery><br />
<br />
==Event==<br />
<br />
<gallery><br />
Livingroom.jpg<br />
Me.jpg<br />
</gallery><br />
<br />
==''The Network We (de)Served'' publication==<br />
===Web zines===<br />
===Printed zines===<br />
<br />
<gallery><br />
Si8_box1.jpg<br />
Si8_box2.jpg<br />
Pub.jpg<br />
</gallery><br />
<br />
=Special Issue 09: The Library Is Open=<br />
== Introduction ==<br />
===''The Library Is Open'' workshops===<br />
Dear readers,<br />
<br />
In the spring and summer of 2019 we developed ''The Library Is Open'', a publication which focuses on the operations, actions, and roles of legal and extra-legal libraries. Central to this project is the community that forms around a collection of texts – the custodians of the collection and the readers. ''The Library Is Open'' is the result of the third iteration of Interfacing the Law, an ongoing research project between XPUB and Constant (BE), which explores issues around extra-legal libraries, software and legal interfaces and intellectual property. Led by our guest editor Femke Snelting, we participated in many activities which were organised by invited guests:<br />
<br />
With Bodó Balázs, an economist and researcher on shadow libraries, we analysed the gargantuan dataset of Library Genesis, to determine trends which indicate access to texts and the social, geopolitical and economic aspects at play.<br />
<br />
With Anita Burato and Martino Morandi at the Rietveld Library in Amsterdam, we discovered the subjectivity of subjects and thorny issues of classification and representation.With other readers, we deepened our understandings of texts through collective annotations.<br />
<br />
With artist and researcher Eva Weinmayr, who introduced us to The Piracy Project, we examined the possible motivations and differences between pirated books and their “source”. With open-source software such as Tesseract, pdftk, and LibreOffice (and many others) we explored the technical processes used during the creation of pirate libraries, and the hidden labour involved in this.<br />
<br />
With fellow pirates, we considered the multiplicity of roles and activities involved in maintaining various libraries, such as Monoskop, Library Genesis, aaaaaarg, Sci-Hub, Memory of the World, Project Gutenberg, +++.<br />
<br />
With Dušan Barok, the administrator of Monoskop and an alumnus of the Piet Zwart Institute, we discovered how Monoskop was initiated and how it has changed over time.<br />
<br />
The variety of our collective sessions, and the practical exercises we performed led us to organise an afternoon of three workshops that directly address the active role of piracy, rather than simply talking about it. Encouraging small, informal, collective actions, we wanted to challenge the ordinary, hierarchical presentation of research projects in the academic context, and individual notions of authorship. When choosing a suitable venue for our event, we decided to ask Leeszaal (in Dutch “Reading Hall”) to host our workshops. Situated in a busy, multicultural area of Rotterdam, Leeszaal exemplifies many values we sympathise with, particularly open access to knowledge, and a focus on the community that uses the space, not just for reading but for many other social purposes. These values we recognise (somewhat nostalgically) as reminiscent of public libraries of yesteryear. However, the landscape today is quite different, with huge online commercial repositories of texts (e.g. JSTOR), protected by paywalls which limit access to them, and in response the emergence of “shadow libraries”.In the following pages we invite you to wander through the dilemmas, outcomes and reflections that came out of our three different workshops, and interviews with people whose work is at the centre of the issues that each workshop uncovers.<br />
<br />
Knowledge In Action explores the roles and activities within libraries, such as selection and inclusion of books. <br />
Interviews with: Dubravka Sekulić & Ronny and Laura, two Leeszaal staff.<br />
<br />
Blurry Boundaries reveals the hidden processes and labour between the publishing and distribution of physical and digital books. <br />
Interview with: Dušan Barok.<br />
<br />
Marginal Conversations highlights the sociality of texts, and how they can become conversations through collective reading, annotation and performance.<br />
Interview with: Marcell Mars.<br />
<br />
Yours in piracy, XPUB<br />
<br />
===Workshop descriptions===<br />
====Blurry Boundaries====<br />
Select, annotate, analyze, scan, correct, digitise, print, read, transfer, erase, encode, curate, hack, interface, work, copy...<br />
<br />
What libraries become possible when you transform physical books into digital files, and vice versa? When a digital copy of a book is made for a digital library, specific steps are followed. Each of these steps requires a decision – to use tools and to spend time. The work involved in digitising a book is invisible and the digital version often loses its connection to the physical book and the library it came from.<br />
<br />
We aimed to reflect upon different topics such as: <br />
The friction between the physical and digital book, what is lost and what is gained when you pass from one format to another.<br />
The physicality and contingency of these passages, the labour involved to produce those copies and its hidden position.<br />
The mindset of the librarian who has to choose how to produce the digital library, which format to chose and what kind of information to reveal.<br />
The possibility of a digital library which provides the history of the book and the people involved in its life.<br />
Annotations which reveal information and challenge the common, static idea of the book.<br />
<br />
====Marginal Conversations====<br />
Marginal Conversations is a workshop which explores collective reading, annotating and performing texts. We read, and write notes in the margins; usually in private, isolated from other readers. We come across texts with others’ notes on them; the author unknown, their thoughts obscure. What happens when we share our notes, vocalise and perform them?In this workshop, participants read, annotate and discuss the open letter “In Solidarity with Library Genesis and Sci-Hub”, which asks for pirate library practices to come out from the shadows. This letter was selected for many reasons; it was an introduction for us to the thematic “Interfacing the Law”, it’s available in many languages, and presents an argument that generates interesting conversations. We compare annotations to detect common areas of interest and to also explore different methods, where readers can develop codes and techniques to extend the content of the source and express their personal understanding of it. The goal is not only to find areas of agreement, but also to discover tensions, disagreements etc. with the letter, which can also develop into fruitful conversations.We leave traces of our reading, enriched by our doubts, sympathies, tensions and diverse understandings. We personalise the text, opening it up for collective conversations. Our voices occupy the space and leave traces on the text and in the library<br />
<br />
====Knowledge in Action====<br />
We looked for different ways that knowledge can be maintained and preserved. We visited different libraries of different scales. We investigated their operations and their levels of legality. We interviewed people who adopted the role of librarians in their unique ways. From these experiences, we started outlining our workshop. The workshop Knowledge in Action invites participants to act the roles and perform the activities crucial to the sustenance of libraries. They interpret and re-imagine the actors that take part in knowledge production and distribution, playing the parts of the librarian, the researcher, the pirate, the publisher, the reader, the writer, the student, the copyist, the printer. The activities embed the participants in different scenarios to shift their accustomed perspective and to start common dialogues.<br />
<br />
== ''The Library Is Open'' Publication ==<br />
== Photos of workshops ==<br />
<br />
[[File:Workshop.jpg|frameless]]<br />
<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
<gallery><br />
thio01.jpg<br />
thio02.jpg<br />
thio03.jpg<br />
thio04.jpg<br />
thio05.jpg<br />
thio06.jpg<br />
thio07.jpg<br />
thio08.jpg<br />
thio09.jpg<br />
thio10.jpg<br />
thio11.jpg<br />
thio12.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Knowledge in action.jpg<br />
Categories.jpg<br />
</gallery><br />
<br />
== Images of workshop outcomes ==<br />
=== Blurry Boundaries ===<br />
=== Marginal Conversations ===<br />
Transcription of recorded annotation performance at Leeszaal<br />
<gallery><br />
File:performanceletter01.jpg<br />
File:performanceletter02.jpg<br />
File:performanceletter03.jpg<br />
</gallery><br />
<br />
=== Knowledge in Action ===<br />
<br />
<gallery><br />
Keep.jpg<br />
Throw_away.jpg<br />
Cards.jpg<br />
Cards2.jpg<br />
Shadow_library.jpg<br />
Shadow_librarian.jpg<br />
Researcher.jpg<br />
Researcher_librarian.jpg<br />
Publishing_company.jpg<br />
</gallery><br />
<br />
=Grad Theses=<br />
Tancredi di Giovanni: [[Media:OHE.pdf | Out-of-Hardware Experience: Software and Consciousness]]<br><br />
Simon Browne: [[Media:Tasks_of_the_Contingent_Librarian_LQ.pdf| Tasks of the Contingent Librarian]]<br><br />
Artemis Gryllaki: [[Media:ArtemisGryllaki-Thesis.pdf | Syster Systems: On the urgencies and potential of feminist hacker initiatives]]<br><br />
Rita Graça: [https://pzwiki.wdka.nl/mw-mediadesign/images/a/aa/Networksofcare_ritagraca.pdf Networks of Care] <br><br />
Bohye Woo: [[Media:My_Country_Is_Still_A_Colony_Bohye_Woo.pdf | My Country Is Still A Colony]] <br><br />
Paloma García: [[Media:CartographiesOfInvisibility.pdf | Cartographies of Invisibility]] <br><br />
Pedro Sá Couto: [[Media:Tactical_Watermarks_Pedro_Sa_Couto_0972575.pdf | Tactical Watermarks]] <br><br />
Biyi Wen [[Media:File:Biyi Wen Thesis.pdf]]|Unravelling Disembodiment]]<br><br />
<br />
=Grad Projects=<br />
Simon Browne: [[User:Simon/Summary_of_the_bootleg_library| the bootleg library]]<br />
<br />
[[Category: c_o_l_l_e_c_t_i_v_e_i_o_n_i_n_g]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Biyi_Wen_Thesis.pdf&diff=172133File:Biyi Wen Thesis.pdf2020-05-20T20:14:57Z<p>)biyibiyibiyi(: Uploaded with SimpleBatchUpload</p>
<hr />
<div></div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project&diff=172047User:)biyibiyibiyi(/grad project2020-05-20T08:25:22Z<p>)biyibiyibiyi(: /* working with sound */</p>
<hr />
<div>[[File:Tableau_repeater.jpg|400px]] <br />
<br><br />
source:http://xinhua-rss.zhongguowangshi.com/232/1377701763410936189/5117654.html<br />
<br />
<br />
[[/archive | The archive]]<br />
<br />
== Repeater | fù dú jī | 复读机 | Archive ==<br />
<br />
===Introduction===<br />
The archive surrounds the narrative of the repeater, a device used in China since the 90s, predominantly for learning English. It was invented by a telecommunications engineer in his forties to learn English, since folks at his age learned Russian in school. The device quickly became phenomenal, and radically changed how language learning is perceived and conducted.<br />
<br />
This device commenced and accompanied the my English learning career. It is a tool of disembodiment. Students were tortured and frustrated from repeating from tape recordings out of everyday context; at the same time the device was a tool for advancement and mobility during the country's then radically transformative years.<br />
<br />
Several methods and schools of thought inform my project - the method of the anarchive, the field of media archaeology, and the study of sound. Today, the repeater, along with the pedagogy the device proposed, has gradually exited from the landscape of language learning. It is an object of media archaeological value. Talking to my friends from childhood, I collected interviews that will work as contextual narratives, on how the device took place in everyday living.<br />
<br />
== Starting out: Collecting spoken interviews ==<br />
Intentionally, I want to approach the archive from a departure of intimacy. To start out to work comfortably with voice and speech, I conducted only two interviews. One from my childhood friend, and another with a girl I encountered purely by accident. <br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/wangzhen|w Childhood friend Wang Zhen ]]===<br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/xuanxuan|w encountered high school seller Xuan Xuan]]===<br />
<br />
== [[User:)biyibiyibiyi(/grad project/sound_archive | working with sound]] ==<br />
[[/ disney tunes | disney tunes ]]<br />
<br />
== [[User:)biyibiyibiyi(/grad project/narrative_video_archive | Narrative video archive]] ==<br />
[[/radio calisthenics series/Costume |Costume]]<br />
<br />
[[/radio calisthenics series |calisthenic series]]<br />
<br />
[[/repeater_narration |repeater narration]]<br />
<br />
== [[User:)biyibiyibiyi(/grad_project/User:)biyibiyibiyi(/grad_project/stickers|Stickers archive ]]==</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project/disney_tunes&diff=172046User:)biyibiyibiyi(/grad project/disney tunes2020-05-20T08:25:07Z<p>)biyibiyibiyi(: Created page with "working with songs with disney"</p>
<hr />
<div>working with songs with disney</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project&diff=172045User:)biyibiyibiyi(/grad project2020-05-20T08:24:54Z<p>)biyibiyibiyi(: /* working with sound */</p>
<hr />
<div>[[File:Tableau_repeater.jpg|400px]] <br />
<br><br />
source:http://xinhua-rss.zhongguowangshi.com/232/1377701763410936189/5117654.html<br />
<br />
<br />
[[/archive | The archive]]<br />
<br />
== Repeater | fù dú jī | 复读机 | Archive ==<br />
<br />
===Introduction===<br />
The archive surrounds the narrative of the repeater, a device used in China since the 90s, predominantly for learning English. It was invented by a telecommunications engineer in his forties to learn English, since folks at his age learned Russian in school. The device quickly became phenomenal, and radically changed how language learning is perceived and conducted.<br />
<br />
This device commenced and accompanied the my English learning career. It is a tool of disembodiment. Students were tortured and frustrated from repeating from tape recordings out of everyday context; at the same time the device was a tool for advancement and mobility during the country's then radically transformative years.<br />
<br />
Several methods and schools of thought inform my project - the method of the anarchive, the field of media archaeology, and the study of sound. Today, the repeater, along with the pedagogy the device proposed, has gradually exited from the landscape of language learning. It is an object of media archaeological value. Talking to my friends from childhood, I collected interviews that will work as contextual narratives, on how the device took place in everyday living.<br />
<br />
== Starting out: Collecting spoken interviews ==<br />
Intentionally, I want to approach the archive from a departure of intimacy. To start out to work comfortably with voice and speech, I conducted only two interviews. One from my childhood friend, and another with a girl I encountered purely by accident. <br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/wangzhen|w Childhood friend Wang Zhen ]]===<br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/xuanxuan|w encountered high school seller Xuan Xuan]]===<br />
<br />
== [[User:)biyibiyibiyi(/grad project/sound_archive | working with sound]] ==<br />
[[/disney tunes | disney tunes ]]<br />
<br />
== [[User:)biyibiyibiyi(/grad project/narrative_video_archive | Narrative video archive]] ==<br />
[[/radio calisthenics series/Costume |Costume]]<br />
<br />
[[/radio calisthenics series |calisthenic series]]<br />
<br />
[[/repeater_narration |repeater narration]]<br />
<br />
== [[User:)biyibiyibiyi(/grad_project/User:)biyibiyibiyi(/grad_project/stickers|Stickers archive ]]==</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project&diff=172044User:)biyibiyibiyi(/grad project2020-05-20T08:23:14Z<p>)biyibiyibiyi(: /* working with sound */</p>
<hr />
<div>[[File:Tableau_repeater.jpg|400px]] <br />
<br><br />
source:http://xinhua-rss.zhongguowangshi.com/232/1377701763410936189/5117654.html<br />
<br />
<br />
[[/archive | The archive]]<br />
<br />
== Repeater | fù dú jī | 复读机 | Archive ==<br />
<br />
===Introduction===<br />
The archive surrounds the narrative of the repeater, a device used in China since the 90s, predominantly for learning English. It was invented by a telecommunications engineer in his forties to learn English, since folks at his age learned Russian in school. The device quickly became phenomenal, and radically changed how language learning is perceived and conducted.<br />
<br />
This device commenced and accompanied the my English learning career. It is a tool of disembodiment. Students were tortured and frustrated from repeating from tape recordings out of everyday context; at the same time the device was a tool for advancement and mobility during the country's then radically transformative years.<br />
<br />
Several methods and schools of thought inform my project - the method of the anarchive, the field of media archaeology, and the study of sound. Today, the repeater, along with the pedagogy the device proposed, has gradually exited from the landscape of language learning. It is an object of media archaeological value. Talking to my friends from childhood, I collected interviews that will work as contextual narratives, on how the device took place in everyday living.<br />
<br />
== Starting out: Collecting spoken interviews ==<br />
Intentionally, I want to approach the archive from a departure of intimacy. To start out to work comfortably with voice and speech, I conducted only two interviews. One from my childhood friend, and another with a girl I encountered purely by accident. <br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/wangzhen|w Childhood friend Wang Zhen ]]===<br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/xuanxuan|w encountered high school seller Xuan Xuan]]===<br />
<br />
== [[User:)biyibiyibiyi(/grad project/sound_archive | working with sound]] ==<br />
[[/disney_tunes | disney tunes ]]<br />
<br />
== [[User:)biyibiyibiyi(/grad project/narrative_video_archive | Narrative video archive]] ==<br />
[[/radio calisthenics series/Costume |Costume]]<br />
<br />
[[/radio calisthenics series |calisthenic series]]<br />
<br />
[[/repeater_narration |repeater narration]]<br />
<br />
== [[User:)biyibiyibiyi(/grad_project/User:)biyibiyibiyi(/grad_project/stickers|Stickers archive ]]==</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project/sound_archive&diff=172043User:)biyibiyibiyi(/grad project/sound archive2020-05-20T08:21:44Z<p>)biyibiyibiyi(: /* disney tunes */</p>
<hr />
<div>== disney tunes ==<br />
Working with tunes from Disney</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project/sound_archive&diff=172042User:)biyibiyibiyi(/grad project/sound archive2020-05-20T08:21:23Z<p>)biyibiyibiyi(: /* disney tunes */</p>
<hr />
<div>== disney tunes ==</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project/radio_calisthenics_series&diff=172041User:)biyibiyibiyi(/grad project/radio calisthenics series2020-05-20T08:21:16Z<p>)biyibiyibiyi(: /* radio calisthenics series */</p>
<hr />
<div>== radio calisthenics series ==<br />
[[/Costume]]<br />
<br />
==background research==<br />
My narrative videos as part of the repeater archive grad project featured myself performing calisthenics, otherwise known as "taiso" in Japan or in more plain expression "radio excercieses". The decision to perform the movements were very intuitive. From the tutorials sessions it was difficult to establish the connections with the repeater without further explanation. Intuitively, calisthenics and the repeater appear to me as both disembodied instruments, albeit they are practiced in very different disciplines. Calisthenics in the field of physical health, and repeater in language education. Lead by curious intuition, I did further research on the subject on calisthenics. The details enriched what I speculated about, and filled in the gaps that were missing to cohesively connect calisthenics and the repeater together. <br />
<br />
much related to how disembodied voice produce power, the topic of my thesis. <br />
<br />
more content here on a pad: https://pad.xpub.nl/p/calisthenics_research<br />
<br />
the research is extracted from here: [[File:Taisho jp occupation.pdf]], an article authored by a historian on taiwan.<br />
<br />
==stills from work in process==<br />
current video link:<br />
<br />
{{youtube|FY9lO3-hAVM}}<br />
<br />
{{youtube|rkpsM6GQtoc&t}}<br />
not finished work!<br />
<br />
[[Template:Youtube]]<br />
[[Widget:YouTube]]</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project&diff=172040User:)biyibiyibiyi(/grad project2020-05-20T08:20:24Z<p>)biyibiyibiyi(: /* working with sound */</p>
<hr />
<div>[[File:Tableau_repeater.jpg|400px]] <br />
<br><br />
source:http://xinhua-rss.zhongguowangshi.com/232/1377701763410936189/5117654.html<br />
<br />
<br />
[[/archive | The archive]]<br />
<br />
== Repeater | fù dú jī | 复读机 | Archive ==<br />
<br />
===Introduction===<br />
The archive surrounds the narrative of the repeater, a device used in China since the 90s, predominantly for learning English. It was invented by a telecommunications engineer in his forties to learn English, since folks at his age learned Russian in school. The device quickly became phenomenal, and radically changed how language learning is perceived and conducted.<br />
<br />
This device commenced and accompanied the my English learning career. It is a tool of disembodiment. Students were tortured and frustrated from repeating from tape recordings out of everyday context; at the same time the device was a tool for advancement and mobility during the country's then radically transformative years.<br />
<br />
Several methods and schools of thought inform my project - the method of the anarchive, the field of media archaeology, and the study of sound. Today, the repeater, along with the pedagogy the device proposed, has gradually exited from the landscape of language learning. It is an object of media archaeological value. Talking to my friends from childhood, I collected interviews that will work as contextual narratives, on how the device took place in everyday living.<br />
<br />
== Starting out: Collecting spoken interviews ==<br />
Intentionally, I want to approach the archive from a departure of intimacy. To start out to work comfortably with voice and speech, I conducted only two interviews. One from my childhood friend, and another with a girl I encountered purely by accident. <br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/wangzhen|w Childhood friend Wang Zhen ]]===<br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/xuanxuan|w encountered high school seller Xuan Xuan]]===<br />
<br />
== [[User:)biyibiyibiyi(/grad project/sound_archive | working with sound]] ==<br />
[[/disney tunes]]<br />
<br />
== [[User:)biyibiyibiyi(/grad project/narrative_video_archive | Narrative video archive]] ==<br />
[[/radio calisthenics series/Costume |Costume]]<br />
<br />
[[/radio calisthenics series |calisthenic series]]<br />
<br />
[[/repeater_narration |repeater narration]]<br />
<br />
== [[User:)biyibiyibiyi(/grad_project/User:)biyibiyibiyi(/grad_project/stickers|Stickers archive ]]==</div>)biyibiyibiyi(https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:)biyibiyibiyi(/grad_project&diff=172039User:)biyibiyibiyi(/grad project2020-05-20T08:19:33Z<p>)biyibiyibiyi(: /* working with sound */</p>
<hr />
<div>[[File:Tableau_repeater.jpg|400px]] <br />
<br><br />
source:http://xinhua-rss.zhongguowangshi.com/232/1377701763410936189/5117654.html<br />
<br />
<br />
[[/archive | The archive]]<br />
<br />
== Repeater | fù dú jī | 复读机 | Archive ==<br />
<br />
===Introduction===<br />
The archive surrounds the narrative of the repeater, a device used in China since the 90s, predominantly for learning English. It was invented by a telecommunications engineer in his forties to learn English, since folks at his age learned Russian in school. The device quickly became phenomenal, and radically changed how language learning is perceived and conducted.<br />
<br />
This device commenced and accompanied the my English learning career. It is a tool of disembodiment. Students were tortured and frustrated from repeating from tape recordings out of everyday context; at the same time the device was a tool for advancement and mobility during the country's then radically transformative years.<br />
<br />
Several methods and schools of thought inform my project - the method of the anarchive, the field of media archaeology, and the study of sound. Today, the repeater, along with the pedagogy the device proposed, has gradually exited from the landscape of language learning. It is an object of media archaeological value. Talking to my friends from childhood, I collected interviews that will work as contextual narratives, on how the device took place in everyday living.<br />
<br />
== Starting out: Collecting spoken interviews ==<br />
Intentionally, I want to approach the archive from a departure of intimacy. To start out to work comfortably with voice and speech, I conducted only two interviews. One from my childhood friend, and another with a girl I encountered purely by accident. <br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/wangzhen|w Childhood friend Wang Zhen ]]===<br />
<br />
=== [[User:)biyibiyibiyi(/grad_project/xuanxuan|w encountered high school seller Xuan Xuan]]===<br />
<br />
== [[User:)biyibiyibiyi(/grad project/sound_archive | working with sound]] ==<br />
[[/disney_tunes]]<br />
<br />
== [[User:)biyibiyibiyi(/grad project/narrative_video_archive | Narrative video archive]] ==<br />
[[/radio calisthenics series/Costume |Costume]]<br />
<br />
[[/radio calisthenics series |calisthenic series]]<br />
<br />
[[/repeater_narration |repeater narration]]<br />
<br />
== [[User:)biyibiyibiyi(/grad_project/User:)biyibiyibiyi(/grad_project/stickers|Stickers archive ]]==</div>)biyibiyibiyi(