View source for Radio Worm: Protocols for an Active Archive (Week 1)

Part of [[Radio Worm: Protocols for an Active Archive]]


=== Working title ===
[[File:AA+WORM.png|thumb|Image]]

For the purposes of promoting the radio slot we will be using. Ash asked for a title, description, and image for promotion. These can be adapted and changed over the weeks! [[User:Michael Murtaugh|Michael Murtaugh]] ([[User talk:Michael Murtaugh|talk]]) 19:25, 14 September 2023 (CEST)

Title: '''Radio Worm: Protocols for an Active Archive'''

Description: Students from the Piet Zwart Institute's Experimental Publishing Master (XPUB) explore and create techno-social protocols for potential active archives of Radio WORM while making radio themselves.

=== XPUB ===
[[File:20230916 xpub website marked.png|thumb|none]]

<blockquote>
XPUB is the Master of Arts in Fine Art and Design: Experimental Publishing of the Piet Zwart Institute. 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.

Source: [[XPUB]]
</blockquote>


* XPUB/Media Design + WORM have [https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Special%3ASearch&fulltext=1&search=worm worked together in the past]

=== WORM ===

[[Image:Worm_duck_delfshaven.jpg|160px]]
[[Image:Worm_Logo_2009.jpg|200px]]
[[File:Wormweb-2006-mission.png|640px|WORM Mission Statement (2006)]]

<blockquote>
WORM is the ultimate test environment for alternative art production, experimental ways of living and non-academic knowledge development. We are a network organisation at the intersection of (popular) culture and (performing) arts, fueled by an abiding interest in all the inspiring, beautiful, urgent, vital, raw, unruly and / or crazy shit that our fellow human beings come up with. We do not see the chaos that comes with it as a problem; rather we use it as energy for action.

source: [https://worm.org/about/ current about description from website]
</blockquote>

=== Radio WORM ===
* Ash Kilmartin
* Lukas Simonis
* Lieuwe Zelle

<blockquote>
Radio WORM is an online radio platform at the heart of WORM Rotterdam. Our studio hosts audio production of all descriptions, with over 80 resident shows as well as a shifting schedule of one-off events, mini-series and special guests. 

Sound art, experimental music, interviews, mixes, informal reporting and in-depth talk-based series all find their place here: we’re always looking for what doesn’t fit anywhere else. 

After nearly a decade’s absence, Radio WORM (Mark 2) came into existence during 2019, when Lieuwe Zelle and Lukas Simonis began broadcasting from the WORM office. After COVID struck, a small crew of broadcasters moved to the Pirate Bay booth, where the radio service has since expanded with an ever-growing list of shows.

source: https://radio.worm.org/
</blockquote>

=== Protocols: How Control Exists after Decentralization ===
<blockquote>
At the core of networked computing is the concept of protocol. '''A computer
protocol is a set of recommendations and rules that outline specific technical
standards.''' The protocols that govern much of the Internet are contained in
what are called RFC (Request For Comments) documents. Called “the primary documentation of the Internet,” these technical memoranda detail the
vast majority of standards and protocols in use on the Internet today.

... Other protocols are developed and maintained by other organizations. For example, many of the protocols used on the World Wide Web (a network within the Internet) are governed by the World Wide Web Consortium (W3C). This international consortium was created in October 1994 to develop common protocols such as '''Hypertext Markup Language (HTML) and Cascading Style Sheets'''.

...Protocol is not a new word. Prior to its usage in computing, '''protocol referred to any type of correct or proper behavior within a specific system of
conventions'''. It is an important concept in the area of social etiquette as well as in the fields of diplomacy and international relations. Etymologically it
refers to a fly-leaf glued to the beginning of a document, but in familiar usage the word came to mean any introductory paper summarizing the key
points of a diplomatic agreement or treaty.

...Yet instead of governing social or political practices as did their diplomatic predecessors, '''computer protocols govern how specific technologies are agreed to, adopted, implemented, and ultimately used by people around the world. What was once a question of consideration and sense is now a question of logic and physics'''.

Source: Introduction, pp 6-7, Protocol: How Control Exists after Decentralization, Alexander Galloway (2004)

</blockquote>

=== Active Archives (2006) ===
Activating the archive?

[https://activearchives.org/mw/index.php?title=Manifesto_for_an_Active_Archive Manifesto for an Active Archive]

https://activearchives.org/mw/images/1/15/Researcher.jpg
https://activearchives.org/mw/images/c/ca/Radiomaker.jpg
https://activearchives.org/mw/images/e/e5/Librarian.jpg

* Contrast of monolithic platforms to protocols, (open) formats and standards, and diverse and interchangeable tools.

=== Circulation ===


=== Free Software? ===
[[File:Exchange-of-tools-jpeg.jpg|none]]

Using and inspired by existing F/LOSS (free/libre open source software)
but also things like Wikis & git where '''sources and versions are archived and distributed'''.

In discussions of Free software, you may hear of '''four freedoms''':
 
# The freedom to run the program, for any purpose
# The freedom to study how the program works, and adapt it to your needs. Access to the source code is a precondition for this.
# The freedom to redistribute copies so you can help your neighbor.
# The freedom to improve the program, and release your improvements to the public, so that the whole community benefits. Access to the source code is a precondition for this.

sources: [https://activearchives.org/mw/index.php?title=Workshop_Barcelona_2008_Presentation_Constant aa presentation (2018)], [https://www.gnu.org/philosophy/ gnu philosophy]

=== Negotiating Ontologies ===
https://activearchives.org/mw/images/0/07/Dewey.jpg

[https://activearchives.org/mw/index.php?title=Archive_in_motion_presentation source (presentation AA 2014)]

=== The curse of the platform ===
Platforms tend towards '''monolithic''', in aiming to be seamless services, they become at once
* The tool
* The license
* The interface
* The archive
* The network / community

"Download the app" becomes the answer to all questions (How do I participate?).
The danger is when institutions (already pressed for resources) stop caring for their own (parallel / interconnected) resources. Despite the invariably informal and friendly address, actually negotiating changes to the platform based on conflicting values is not usually possible (mismatch of scale).

https://activearchives.org/mw/images/d/d0/SoundCloud_AllNewPlayControls.png

=== Burnstation (2003) ===
<blockquote>
With Burn Station, Platoniq bridges the physical space of the city with the world of media through the exchanging of files and the building of personal contacts. The project aims to promote the right to free culture and to copyright alternatives being developed on the Internet thanks to the influence of open-source/free software on digital information. This open source, copyleft model project is an experiment in practical gift economics and face-to-face network builder.

Platoniq took to the streets to disseminate content with Burn Station, is a mobile copying station and online installation using a four-computer local network:

Come by with some blank CDs and record songs you like from the database.
You can also bring your own compositions for others to copy.
In this way, people can hear work that would never find a commercial sales channel.

[https://v2.nl/works/burnstation Source: Description at V2, Rotterdam]
</blockquote>

* [https://m.youtube.com/watch?v=ojgeAKOxw9A Video doc (youtube)]

=== La Langues Schaerbeekoise / Spreekt-u Sint-Gillis ===

An example "spin-off" project from Active Archives that very much worked as a generator for engaging with different publics, practices, and formats.

* https://lalangueschaerbeekoise.be/
* https://spreektu1060.be

Forms of engagment / inputs and outputs:
* Radio programs (Radio Alma(BE) + Radio Panik(BE)  + Radio Campus(Paris))
* Workshops / Meetings with cultural groups
* Publications: [https://calibre.constantvzw.org/book/31 Woorden uit de Berenkuil] (2012) + [https://calibre.constantvzw.org/book/108 Parlez-vous 1060] (2016)
* Exhibition
* [http://annaraimondo.com/playbabel/ Radio walk (Anna Raimondo)] and [http://annaraimondo.com/playbabel2/ later in Vienna]

==== An adapted format for long term archival access ====
Both websites were based on dynamic database-driven backends (python + django) when actively developed; The sites were later adapted into ''static HTML'' (+JS+CSS) for longevity and easier maintenance in a "frozen" state.

=== Active Archives: 2023? ===

[[File:Screenshot 20230914 Bandcamp.png|200px|Pfffffffffffffff]]

* [https://activearchives.org/mw/index.php?title=File:Activearchives_galaxy_again.svg Active Archives Galaxy (2018), from Femke]
* The project itself became more of a generator for other projects and works, often in neighboring networks...

=== Kurenniemi: Spectrum sort ===
* [https://activearchives.org/mw/index.php?title=Dataradio_Presentation_(WORM) Data Radio (Presentation WORM, Cassette evening 2014)]
* (S)ICV ... MM with Nicolas Malevé + Ellef Prestsæter
* Software "probes" working with materials from specific archives
* [https://activearchives.org/mw/images/d/d1/C4004.ogg C004 cassette digitized]
* https://activearchives.org/mw/index.php?title=Spectrum_sort
* http://kurenniemi.activearchives.org/spectrum/C4004.spso.ogg
* http://kurenniemi.activearchives.org/spectrum/C4004.spso.ogg#t=01:32:39
* [https://vandal.ist/kurenniemi/ Sniff and sneak through my archives] on vandal.ist

=== On the data set's ruins ===
Nicolas Malevé's work is increasingly interested in considering how so-called AI (Artificial Intelligence) tools are in fact complex assemblages of curated materials (audio/visual/textual, aka data sets), labor (caring for and producing this data) and algorithms (based on statistical methods to produce predictive "models" based on the given examples).

<blockquote>
Computer vision aims to produce an understanding of digital image’s content and the generation or transformation of images
through software. Today, a significant amount of computer vision algorithms rely on techniques of machine learning which
require large amounts of data assembled in collections, or named data sets. To build these data sets a large population of
precarious workers label and classify photographs around the clock at high speed. For computers to learn how to see, a scale
articulates macro and micro dimensions: the millions of images culled from the internet with the few milliseconds given to
the workers to perform a task for which they are paid a few cents. This paper engages in details with the production of this
scale and the labour it relies on: its elaboration. This elaboration does not only require hands and retinas, it also crucially
zes mobilises the photographic apparatus. To understand the specific character of the scale created by computer vision
scientists, the paper compares it with a previous enterprise of scaling, Malraux’s Le Musée Imaginaire, where photography
was used as a device to undo the boundaries of the museum’s collection and open it to an unlimited access to the world’s
visual production. Drawing on Douglas Crimp’s argument that the “musée imaginaire”, a hyperbole of the museum, relied
simultaneously on the active role of the photographic apparatus for its existence and on its negation, the paper identifies a
similar problem in computer vision’s understanding of photography. The double dismissal of the role played by the workers
and the agency of the photographic apparatus in the elaboration ...

[https://sites.rutgers.edu/critical-ai/wp-content/uploads/sites/586/2021/10/Maleve_2020_OnTheDataSetsRuins.pdf source]
</blockquote>

=== Protocols? ===
The importance of protocols in both technical and social sense.

* Meaning through circulation
* Questioning authorship
* Sharing tools & pratices (not just access to "final" forms)
* Interogating ontologies
* Collectivity on (our) own terms

=== TOS: Terms of Service ===
[[File:Screenshot 20230916-125018.png|400px]]

Logo of [https://tosdr.org/ TOSDR website]

=== TOS: Tyranny of Structurelessness? ===
<blockquote>
Contrary to what we would like to believe, there is no such thing as a structureless group. Any group of people of whatever nature that comes together for any length of time for any purpose will inevitably structure itself in some fashion. The structure may be flexible; it may vary over time; it may evenly or unevenly distribute tasks, power and resources over the members of the group. But it will be formed regardless of the abilities, personalities, or intentions of the people involved. The very fact that we are individuals, with different talents, predispositions, and backgrounds makes this inevitable. Only if we refused to relate or interact on any basis whatsoever could we approximate structurelessness -- and that is not the nature of a human group.

sources/versions: [https://www.jofreeman.com/joreen/tyranny.htm jofreeman.com], [https://m.youtube.com/watch?v=3ttKaxy3OgE&pp=ygUcdHlyYW5ueSBvZiBzdHJ1Y3R1cmVsZXNzbmVzcw%3D%3D text-to-speech version (youtube)]
</blockquote>

=== CC: Creative Commons, or Collective Conditions ===

<blockquote>
'''REMINDER TO CURRENT AND FUTURE AUTHORS:'''

The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.

[https://gitlab.constantvzw.org/unbound/cc4r CC4r (constant gitlab)]
</blockquote>

* https://creativecommons.org/
* [https://constantvzw.org/wefts/ccreader.en.html Collective Conditions - Reader/Playlist]
* [https://constantvzw.org/wefts/cc4r.en.html CC4r: Collective Conditions for Reuse]

=== Ursula Franklin: Real World of Technology ===
https://archive.org/details/the-real-world-of-technology

=== Trimester plan ===
[[Radio Worm: Activating the archive|Schedule]]

=== See also... (from the XPUB/Media Design archives) ===

* [[Interfacing the law (2017)]], [[Interfacing the law (2018)]], [[Interfacing the law (2019)]], [[Sample librariesLink | online library list (notes from 2018)]]
* [[OuNuPo]] (2018)
* [[Radio Implicancies]] (2020-2022)
* [[Tape+Loop]] (2014)

=== Hörspiel? ===
* [http://www.publicrec.org/archive/2-01/2-01-014/2-01-014.html The Laurence Rassel Show] Radio play, unaired (2005)
* https://soundcloud.com/fedoriko/useless-movement
* [https://archive.org/details/diemaschine-georgesperec1968 Die Maschine], Radio play (1968) George Perec
* https://worm.org/2021/07/29/radio-worm-podcast-listing/