I am very honored that my work “Blucle, archivo de ficciones” is part of the Electronic literature collection Vol 4
Bucle is a hyperfiction story based on the life and work of Ulises Carrión, it is a risk taking, a digital exploration of the PDF format based on several ideas exposed by Carrión in the famous essay: “The new art of making books”. This archive of fictions emulates the twists and turns of creating a rumor, it is a digital object that is built and destroyed at the same time. Originally, this work was published by Centro de Cultura Digital in Mexico city
Originally, the objective of the workshop was the production of the common good. Since medieval times, the workshop has been a place for learning and teaching craftworks. For example, xylographic printing workshops, typographic cutting and foundry workshops, typesetter and illuminated manuscripts, among others. The creation of a single object, such as a book, united various workshops in an organized manner. The function of the workshop is thus threefold: linking social life, producing goods, and distributing knowledge.
During the second half of the XX century, the workshop acquired a new understanding that differed from the original purpose. it became a space for alternative education that was open to pedagogical exploration and experimentation. For instance, ‘The blueprint for counter education’ (Stein & Miller, 1970) serves as a portable learning environment for a new process-based model of education. This bookwork is proposed as a self contained workshop facilitated by a book and composed by a series of visual posters. Imagine: a workshop facilitated by no human. Today, there are workshops about poetry, design, yoga and dancing, workshops to develop psycho-emotional skills, and even workshops 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 common goods, or meet new people. While some workshops take place as a physical experience, some others might happen ‘online’ in the networked and programmable media. There are workshops that last one hour, some last a day, and others last generations, practised and shared among families of artisans. The format of the workshop is as flexible as the content that is played.
Under the context of the fourth industrial revolution, the idea of the common and “the social” are questioned by the constant privatization of cultural goods and natural resources. What do we mean when we use the pronoun ‘we’? Who are the actors coming together within a workshop? How do we socialize and empathize with our environments? Who are the owners of production of the common goods? Which are the borders of the workshop as format?
“Some other workshops manifesto” thus observes innovative ways to produce and distribute knowledge. Also, it looks for different ways to assemble the social within the workshop format.
So then, the workshops aim at knowledge dissemination and production, practical problem solving and the development of (the) common good(s). This manifest proposes parameters to visualize the workshops in this historical context and to understand it as a creative practice; such as writing, painting or performing.
1. Time, space and purpose
The workshop is limited by the time and space.
The workshop’s objectives don’t limit the workshop itself, but they do draw the workshop horizon.
All workshops always have purposes, even when they refuse to have them.
The workshop is an agreement between participants.
The workshop facilitator is another participant with administrative credentials during the workshop.
The workshop facilitator is an old-fashioned way to call somebody who accompanies during a learning-working process, he, she, they, or it (if the facilitator is a non-human actor) is a partner.
A workshop is a tension between participants in space-time.
The participants of the workshop are actors. so they do act or, even better, they make others act.
Some of those actors are visually manifested; some others sound like the wind. and some others are a set of instructions.
The workshop participants are not necessarily humans. For example, there are biological actors in a parmigiano-reggiano cheese workshop, such as the bacteria that ferments the cheese for months. or computational actors, such as the algorithms behind the user experience in a video conference room. both of them are non-human actors.
All the actors’ actions leave traces of their presence.
Some actors are presented during the whole workshop, some others last an eye glance. When an actor is not performing, does it become an artifact?
The social is an emergent system where the actors interact. Some of those interactions are meant to be, some others are spontaneous and meaningless.
Each interaction can be designed or inducted with a specific purpose.
Other interactions can not be controlled. They do belong to spontaneous events, like errors. Those interactions belong to the unpredictability field.
The nature of each system is entropy.
A set of workshop interactions with a purpose are the workshop dynamics. They draw the structures and they hold the workshop intentions. For example, some workshops repeat the discourse as propaganda. They produce deliverables, such as one tonne of cheese. Other workshops, hold participants within an umbrella, they create room for participant interactions, hypotheses and experimentation
Workshop iterations modify each of its elements, such as the time, space, objectives, interactions, and participants. Therefore, a workshop never dies, it mutates or it is forgotten.
The workshop is a constant creative practice. Each workshop session is different, as any other day.
A workshop is not isolated from its environment.
The best workshops are independent organisms of anybody. They can continue even if the founder or any participant is not alive.
“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
“Exposición mujeres & naturaleza. Hilando una sola tierra” en https://farolito.me/resenas/artes-visuales/exposicion-mujeres-y-naturaleza
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.
Nota: el Taller se jugará en sittu , solo durante la inaguración de la expo.
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
Simplify the login experience
Develop a bilingual web experience (Spanish and English)
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
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
Display the archive from previous workshop experiences.
Optimize the back end communication with the database (MongoDB)
Enhance the UX by improving the user journey with a “one button experience”
Unify visual language in the UI for different monitors, such as: Typography, Sizes, buttons, colors and template.
Re-design a new logo that works for both languages.
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.