Notes for some other workshop Manifest (1)

Originally, the objective of the workshop was the production of the common good. Since the medieval times the workshops have been a place for learning and teaching craftworks. 

For example, xylographic printing workshops, typographic cutting and foundry workshops; typesetter and illuminators among others. The creation of a single object such as a book joined various workshops in an organized manner. The function of the workshop links social life , produces goods and distributes knowledge.

During the second half of the XX century, the workshop acquired a new understanding that differs from the original purpose. It became a space for alternative education that is open to pedagogical exploration and experimentation. For instance, the Blueprint for counter education  (1970,  Stein & Miller)  serves as a portable learning environment for a new process-based model of education.  This bookwork is proposed to be a  self contained workshop facilitated by a book and composed by a series of visual posters. 

Today there are workshops about poetry, design, yoga and dancing; there are workshops to develop psicoemocional skills or to manage workshops. Some other workshops are about computation, herbalism and dreams and/or secret depictions. Or even, there are workshops that work as a playground to play, exchange the common goods or meet new people. While some workshops take place as a physical experience, some others might happen in the network and programmable environments. There are workshops that last one hour; some others result in the daily work and they last generations of artisans. 

Under the context of the fourth industrial revolution, the idea of the common and “the social” is questioned by the constant privatization of cultural goods and natural resources; and by an adulterated idea of the social.  What do we mean when we use the pronoun ‘We’? How to socialize and empathize with our environment? Who are the owners of the production of the  digital common goods?

“Some other workshops manifest” observe innovative ways to produce and distribute knowledge  and different ways to ensemble the social within the workshop format. 

So then, the workshops aim at knowledge dissemination and production; practical problem solving and common goods developing.

Notas sobre Trueque de A-N-H en Moloch 6.05.22

“if the social is a trace, then it can be traced ;
if it’s assembly then it can be reassembled”
Bruno Latour, The actor Network Theory (2005, 128p)



El taller nace como una remediación del Taller “Trueque” en línea (2020), el cual también es un taller de intercambio de objetos no físicos pero en ambientes digitales.
Ambos talleres plantean el intercambio o trueque de objetos no físicos , ethereos pero producen muy distinta experiencia.
Mientras “Trueque” se enfoca en hacer posible el intercambio de objetos, servicios digitales y objetos ethereos (perfromances e intercambios de lengua natural); Trueque de agentes no humanos se enfoca en los trazos que generan los intercacambios.

¿ Cómo se tejen las historias de “lo social”?



TRUEQUE DE AGENTES-NO HUMANOS  es un taller de intercambio de objetos no-físicos que sucede en un ambiente físico.

El facilitador de este taller es “Gepeto”,  un agente compuesto por tarjetas,  una pizarra y las reglas de juego. Es decir , gepeto es conceptualemnte un algorítmo.
El objetivo del taller es el intercambio de agentes humanos y no humanos usando la experiencia y la imaginación del participante como divisa del intercambio.

El producto de este taller es la creación de historias hechas colectivamente. 

Al final del taller leímos algunos trazos de los participantes. Es una pena que la lluvia paró la lectura poiética.

A continuación se muestra los trazos Producto del taller.

Gracias a todos los académicos, artistas, diseñadores y pensadores involucrados en el desarrollo de la exhibición “Mujeres y Naturaleza” ; 5to Coloquio Diseño sustentable e inovación social y Moloch Galeria.

Especialmente a Denise Martínez Bucio, por la invitación

Mencion:

  • “Exposición mujeres & naturaleza. Hilando una sola tierra” en
    https://farolito.me/resenas/artes-visuales/exposicion-mujeres-y-naturaleza

“Trueque de agentes no-humanos” en Mujeres y Naturaleza | Próximo Viernes 6 de Mayo

Vengan a jugar un rato esta remediación del taller de Trueque de objetos no físicos (origialmente online ). Durante este taller-experiencia intercambiamos entidades, interpretamos y usamos como monedas nuestras experiencias o historias propias.

El taller es facilitado por Jepetto , un cojunto reglas de juego y sus cartas.

Les esperamos.

Nota: el Taller se jugará en sittu , solo durante la inaguración de la expo.

Share to Heal Workshop V2

This workshop started as Maria Mencia iniciative during Viral:Imagina in 2020. The original name was Prácticas Digitales Creativas: Sanación a través de la comunidad. [ Creative digital practices: Healing trough the community ].

The aim of the workshop is to make visible — through sharing — social, personal, or collective issues/challenges which had become more apparent during the Covid 19 global pandemic and to induce meaningful conversations through the production of creative digital proposals to heal them. All the participants response are anonymous.

During the first iteration on Viral, my role was providing Maria -the facilitator- and the participants everything that they need. For example, I randomized and distributed participants stories. Also,I allowed participants cameras to be played. Lets say, I was playing to be the algorithm

From a system perspective, this workshop is about randomly exchanging anonymized stories between participants during an online workshop

Since then, We have modified the logic, mechanics and visual aesthetic of the workshop experience different times. For instance, the first prototype for ELO21 we were aiming to provide an user interface that automatically distribute and visualize participants stories. We successfully did it but due the stories matching distribution system, we implemented an in log time based experience, where participants accessibility was allowed only during a period of time. As consequence the experience turned to be very hard for natural erratic events, such as time and technological misfortunes. For instance, people that arrive out of time couldn’t join; Or other participants were already inside the virtual room but they lost their internet connectivity and they could not re-join the workshop.

So we have to over come on these challenge, and besides that the project has not arrive yet to the final stage. We are very proud and happy with the result of this second prototype V2.

We also invite a new participant Pietro Paresi, italian game designer/developer who is in head of the development.


Features of Share to Heal Workshop V2

  1. Simplify the login experience
  2. Develop a bilingual web experience  (Spanish and English) 
  3. Implement a User panel that:
    • Optimize the user access by allowing the user to return at any time during  the workshop experience.
    • Update the user name at any time 
  4. Upgrade the Control panel that allows the facilitator during each experience :
    • To name the workshop session
    • To open a workshop
    • To end the workshop at any moment. 
    • To distribute the stories based on the workflow of each community 
  5. Display the archive from previous workshop experiences. 
  6. Optimize the back end communication with the database (MongoDB)
  7. Enhance the UX by improving the user journey with a  “one button experience”
  8. Unify visual language in the UI  for different monitors,  such as: Typography, Sizes, buttons, colors and template. 
  9. Re-design a new logo that works for both languages.

Visit us


Thanks to all the volunteer and academics that have provide a feedback during each group test (29.09.21, 12.10.21,15.11.21 ) Deena Larsen, Dene Grigar, Mark Marino, Pilar Morales Vernice Marquet , Oreto Doménech Thanks

If you are interested in inviting us to your own community, please drop me a line.


Thanks to the financial support of Kingston University We could make Share to heal an open source project.

Please, feel free to use and modify the code for your own pedagogical projects

This project is part of my research Remediating the collaborative storytelling workshop into digital mediated spaces in LUCA School of Arts, KU Leuven; Belgium

Instructions about how to (dis)appear completely The rest is left over

Dear friends, I feel happy to share “Instructions about how to (dis)appear completely The rest is left over”. This is a máquina poiética published by Bad Quarto : about Taper #7 – Wonders. It is such an honor to be part of this project . Specially, when I do feel that life has more questions, doubts and wonders than any fix discourse or destiny

Please consider that this piece will pop up in a print dialog
box for your next experience. Just click the print button.


“Instructions about how to (dis)appear completely The rest is left over”
is a “machine of poiesis [máquina poiética]” that prints a maximum of
60 addresses on a letter sheet. Plus four basic instructions for use.

The number of arrows corresponds to the second in which the reader
operates the piece. Each arrow is selected from ten different character
patterns and randomly rotated 360 degrees.

The machine generates the poetic experience of chance.
Its design corresponds to the tension between the suggested, provoked
algorithmic chance and the erratic human factor. Time, space, and
reading are the variables for a guideline-seeking eye. This eye reads
in all directions, from bottom to top, from left to right. It
contradicts your own experience and intuition. Play to interpret. So,
it is there and now, where there is a chance to find your own poem. It
is a unique experience designed exclusively for you.

And do you think that chance can be algorithmically generated as a
destination? Imagine. What do you wonder, today?

For this edition in Taper #7, the machine takes as departure point 14
questions coming from “The Book of Questions: Questions Asked by
Children 3-5 years” by Alec Finlay (Platform Projects, 2005) and one
doubt by Vini da kid.


Thanks a lot to the Editorial Collective Taper #7, Kyle Booten, Angela Chang, Leonardo Flores, Judy Heflin and Milton Läufer, for looking forward on this maquina poeitica and for their work on this Taper issue. Many thanks to Nick Montfort for making this project possible

Please, be aware that each piece of Taper magazine includes an artist statement . You can check, copy and modify the code by clicking ctrl + u in your browser. You can check, copy and modify the code of all the pieces of Taper .

Go for free/libre/open-source software!