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.
In Ghent (2018), Mapas Oniricos [Oniric Maps, MO] introduced “Espectrito” within the workshop performance. There were two ideas behind it, first I wanted to disappear in front of my colleagues at KASK. Back in those days, I was taking a storytelling postgraduate course as a student and docent. Besides that I was announced as workshop facilitator since the start of the course, a lot of my colleagues didn’t know about it. So I have the feeling that erasing myself from the role of being a ‘classmate’ would improve the workshop presentation, especially during the first minutes. Also, back in those days I was living a personal-creative-turbulence period… when a childhood friend, Micho, appeared in town from Mexico city. And he brought a present for me, the mexican wrestler mask of “Espectrito”.
Espectrito is not the most popular wrestler mask, others like El Santo, Atlantis, Mistico are more famous and easy to recognize. Yet it is one of the most mysterious masks in the history of Lucha libre; Espectrito’s story is linked to the origin of broadcasting lucha libre in the mexican tv back in the 50s . And because of the aesthetic of the mask and the ‘ritual’ that the original wrestler used to perform. (He used to arrive inside a coffin to the fight field) The mask became a controversy for the mexican catholic society from the time. Since those days, Espectro‘s saga ─ which includes a lot of wrestlers with similar names and masks, such as Espectricto, Espectro de ultratumba, Mono verde among others─ is full of bad reputation and even a wishcraft.
Today, I know more about the story behind this Mexican icon, but back in those days, I merely knew this mask was coming from my old first friend who loved evil and mysterious forces since his childhood. And maybe that was enough to use it during this presentation in Belgium.
Anyway, my friend gave me a tool to disappear/appear in front of my colleagues and a toy for self exploration. Also, one of the objectives of MO workshop deals with the remediation of written language in images, sounds and interactions; So in a way this gave me the chance to play and incorporate a performance that encourages participants to experiment with language beyond a cases of words.
For the purpose of this workshop edition in the Blend and Bleed symposium, my goal was to remark that the mask is a tool for the workshop and not the other way around. The mask is not a character; it is not a childish story, not even an icon; it is not about the performance. The mask is a tool, It has a function that aims to blend the pedagogical and performative experience of the workshop. So I decided to continue this (self) exploration and take out an Espectro mask and vanish it into myself.
These are some sketches and tests about my makeup and expressions. I was looking something simple that remark the expressions of my own face
Something I have discovered during the tests, is that each time I was playing a mask, my own voice and character was changing. it was like meeting a another VIni
MO looks to merge what is happening, the real moment with visual, sound and performance elements that sum to the statement of what is developed within the workshop. I would say a symbolic experience that goes beyond words.
It echoes Augusto de Boal’s idea of Invisible theatre of blending reality in some spontaneous event. Participants of the workshop don’t really know exactly what, how and when an event will happen. There is not such an exact script. It only exists a plan to develop during the workshop, notes.
I feel enthusiastic about the potential of the online version of the workshop, surely this will continue evolving and changing. Some ideas that came to my mind are related to the UI and the modification of the workshop format it self. As MO is not attached to Twine or any particular technology, I wonder about how the content shapes the experience of the workshop.
In contrast with the physical experience of the workshop; the online version of MO, optimizes the time and facilitates unique features from the medium, such as more control on sound and images and programmatic or networked features that impact the total performance of the workshop.
Nevertheless, the personal physical interactions and casual events are nul. For the workshop development those small interactions and casual events are essential for the personal growth of each participant. For example, personal conversations about dreams are lost . I don’t mean we don’t talk about our dreams in some way, the workshop has an organized way to talk about them . I am talking about casual chats and events that happened within the time that we are just around. Those events might happen more often as we provide time for “blank spaces” within the workshop. Maybe working with some asynchronous times during a a workshop that last more time , it would be ideal to provoke those conversations. Psychical interactions are unique; yet I wonder about the power of the physique.
There are more questions and concerns to be answered such as How to balance the performance and the pedagogical content? So far I have been using the mask a lot, but What about using some other visual,sound and interactive elements? How time and more sessions would affect the experience?
RESULT OF THE DAY
You can check the dream exploration we did that day here .
My apologize I did not keep a precise track about the dreams ownership for each twine stories, my mistake. The next twine stories, only mention the last author, an interpreter of others dream. You can find more information in the original document.
Thanks to everybody who join the workshop.
All my gratitude to my Carina Erdman for this fantastic initiative and for the invitation. Gracias
Dream exploration that use virtual reality (VR) as an agent for storytelling. Interactive experience that aims to rise the question How virtual are our dreams? Test_270519_916pm.B_ is based in a personal dream where I was constantly awaking . And it is inspired by The infinite dream of Pau yu by Tsao Hsue-King in “Dreams of the Red chamber”
This exploration is part of “Mapa Oniricos” (Oneiric maps), a community workshop that use UX low-fi prototype techniques and digital literacy practices in order to explore dreams.
Hace medio mes tuve el honor y el placer de asistir a Code words en The School of Poetics Computation en la ciudad de Nueva York ( de Julio 29 al 3 de Ago) . El taller es organizado y curado por Nick Montfort en colaboración administrativa de Taeyoon Choi.
El taller fue desarrollado por personas muy talentosas como la poeta Stephanie Strickland, Milton Lafauer, Lillian Yvonne Bertram y Everest Pipkin. Cada uno de ellos con muy distintas habílidades y formas de aproximarse al texto y al código programático. Ademas Todd Anderson de Baby Castles, quien fue el encargado junto con Nick de dar soporte al personalizado en las dudas que surgian u otras labores de organización.
Afortunadamente fuí privilegiado con media beca por parte de la institución, pues el curso es de alta demanda a nivel global. Muchos estudiantes de distintos lugares del mundo llegaron al humedo verano neoyorkino. La beca incluye un trabajo de voluntariado. En mi caso fue el registro gráfico del taller. Otra beca fue otorgada @Liza St James, escritora de ficciones y muchas historias.
Los alumnos fueron de distintas nacionalidades y con muy distintos perfiles: peruanos, argentinos, rusos, holandeses, israilitas y de ambas costas de los Estado Unidos. No todo mundo sabia hacer código programático, muchos era principiantes, intermedios y otros absolutamente profecionales del computo. Definitivamente un grupo muy híbrido.
Pueden seguir el registro que se hizo del dia a dia en https://medium.com/@sfpc .(Inglés). Ahí encontraran material gráfico así como el diario del taller.
De las lineas que mas me interesaron del taller fue colocar al código en el campo historico y cultural; donde el código programático lejos de ser una artefacto extraño del high technology group pertenece a prácticas humanas que llevan más de 50 años. Nick retoma diverso ejemplos de manera muy precisa de su libro Exploratory programming (2017) que ademas es un libro de introduccion a programación para humanistas. Obviamente la presencia en clase cambia todo entendimiento.
Ademas, fue un placer sentarse a escribir código por el puro gusto de entender y aprender otra manera de escribir y leer. Como, también me es placentero continuar dibujando con un lápiz y no tomar de fotografía ¿Cómo para que imitar la Realidad? El día de hoy despues de todas las revoluciones de la imagen del siglo xx , esta elección ni siquiera es pensada por muchos, sino una elección . La imagen fue liberada de la pretenciosa idea de pintar una realidad exácta.
La cuestión es ontológica, ¿Qué será del texto en 20 años?¿ Qué es el texto? ¿Qué es leer y escribir? Si bien, nunca se hablo en el taller de estas cuestiones de manera explicita. El sentarse frente a la consola con un monitor en negro, escribiendo caracteres en fórmulas mas cercanas al algebra. Y creando mis propias funciones, arrays , loops , y demás objetos programáticos. Imagino, planeo y redistribuyo un texto en una oración . Fatal error. Hay que volverlo a escribir y ejecutar. Le doy enter solo hay preguntas desplegadas en el monitor y nuevos ordenes de textos previamente seleccionados -secretos- . Comparo el trajo de Nick, Milton con el de Zach Lieberman u otros coders y el output es completamente distinto. Mientras uno trabaja con cuerpos de texto, el otro desplega imagenes abstractas. Puede ser el mismo el mismo lenguaje programatico, pero el output cambia Entonces ¿Que demonios es el texto? sino el orden consecutivo de símbolos en tiempo y espacio.
Algunas de las técnicas presentadas en el taller van desde ejersicio de división silábica, la permutación, hasta la apropiación de bancos de datos de la internet para la redistribusión de ellos en un conjunto de oraciónes.
En fin , seguro queda mucho que hablar, pensar y aprender.
De mi parte solo puedo dar las gracias a Nick y cada unos de los profesores y alumnos por la fantástica experiencia; asi como por aumentar mi conocimiento en python.
Bonjour! First I would like to thank ELO team organizers in Montreal, The University du Quebec and ELO organization, for hosting us in this gorgeous city.
I am privileged and honored for having the opportunity to share this paper withthis delightful audience of academics, thinkers and artists. Mercy Beaucoup
Thanks Lori Emerson for sharing her presentation “Against ‘Lab’ as Free-Floating Signifier” with me. Kathi Imman Beren and Rika Colpeart for her suport and feedback.
My name is Vinicius Marquet, I am independent designer, researcher, author and so on. All previous features and my name, both can be attached to my cv and to my passport, respectively. Today I prefer being called just as Nosotros (we) or as Nadie (nobody):
Nosotros make this project possible.
Nadie is the owner of this project and the secret collection.
This presentation is called “Secrets, a pedagogic tool for e-lit practices”this paper aims to contribute a theoretical framework model for workshops and accessible pedagogic tools regarding electronic literature theories and art practices.This proposal is based on memories of “Cuéntanos un Secreto ” project – Tell me a secret project– .It focus in two different objets: the workshop, that is probably the most valuable element of the project since this activates the social cultural exchange of experiences.And two samples of pedagogic material used during the workshop while we explore e-lit practices and digital culture.
Those theories and art samples are coming from Ulises Carrión and Augusto de Campos. Both of them, fundamental artists and thinkers that question written language and its dissemination.
Finally, I’ll present Los discretos collection, a self contained secrets collection as a way of conclusion.
1.I ll be your mirror Nico and the Velvet Underground
Tell us a secret project (TuSp) is a secret sharing project between communities during a visual communication workshop. The workshop explores visual depiction in form of illustrations, animations, videos and electronic objets that enlighten text stories in form of secrets.
As result, the project holds an extensive archive of popular storytelling, composed by text and graphic elements. Both of them, the original text and its depiction are considered a secret.
The project, itself, is a tool for self explorations and expression
The project was born in 2012 when I was the leader of the design workshop at Faro de Oriente in Mexico city. Since then, the main objective of the project was to link communities by sharing their secrets during the workshop.
TuSp rather of being an objective or a destination. It has been always a process and playful placeto experiment visuality. As the project advanced, our archive grew up.Then it became necessary to preserve and distribute the secrets by using diverse methods and techniques: printing small publications — as posters, flyers invitations and digital zines —A website, that I haven’t updated yetAnd doing small exhibitions and presentations about the secret project.
Until this moment,we have done communities as, internet user, military young scholars, nurses schools , art schools, women in jail, retired old people, galleries and so on.
The project holds, mostly, secrets in Spanish from Mexico city, but the collection owns, few samples in english, italian, dutch, turkish, portuguese and korean as well. This international collection or “Encryptor (prototype)” are even a secret for myself, a Spanish native speaker
The project has three main objectives:
Explore visual communication through narratives applied in diverse visual manifestations
Build communities by exchanging anonymous hidden experiences
Preserve and distribute popular story tellingin form of secrets.
Generally, as introduction to the visual communication workshop, we explore visuality by drawing. Those visual exercises are most of them based on Betty Edwards theories “Drawing on the right side of the brain” while, as principle, they explore visuality to understand reality rather than looking to draw a good copy of reality. Her theories far to understand drawing as a virtuoso gift, find in drawing a way to explore, communicate and validate your visual world
Some other exercises comes byreviewing elemental concepts of design and visual communication as: format, size, direction,texture, color, readability and so oncoming from Bruno Munari or Wucious Wong .
Nevertheless, as you previously have seen, we have used secrets depiction to explore a big array of objets and activities in diverse communities: from 5 years old kids to women in prison . Each community is contextualized by its own needs and characteristic. Thereby the workshop looks to adapt and develop content for the community needs and characteristics.
For the project framework,I call this flexible feature of the study content ESO or Exchangeable Study Objet. This allow the secret project being always open to the visual needs of the community.
Besides the community rules, throughout the workshop there is only two guideline that rules :
” you don’t choose the secret . The secret has chosen you”
We randomly distribute the secrets, enclosed by a white envelop. Each secret is unique as the experience of open it.
By this guide line, we also mean that the secret is trying to tell you something, that you need to enlighten. Observe what does the blank space of the letters saids.Perceive the manners of how the author is telling you the story?Who do you think is this anonymous author ? Where does the author lives ? What is the authors gender?How old is the author?Do you have similar experience in your experience repertoire?Etc.
The secret has chosen you to be depicted, listen the secret story.
As the secret has chosen you, you need to respectthe story and finish its depiction before you open a new secret.
The other guideline isthat all secrets and their depictions are anonymous.At the end of workshop we ask volunteers to donate an anonymous secrets in order to continue with the workflow. This is done by Nosotros.
This anonymous feature looks to preserves the originality of the secret and the ownership of the collection. This belongs to Nadie.
Sharing a secret creates an intimate experience that easily last in the memory of participants And therefore it can bound this experience with any knowledge that workshop offers . By this I mean the pedagogue works comes by creating unique experiences that links knowledge with participants
“Ya lo dijo Freud no me acuerdo en que lado
Solo la experiencia que he experimentado” “It is said by Freud, I don’t remember exactly where, It is just about the experience that I experienced”
El profeta del nopal
In the book the Great didactic, Comenio, the philosopher and pedagogue appeals to our sense as the bastion for modern teaching. He saids ” Everything should, as far as posible, be placed before the sense. Everything visible should be brought before the organ of sight, everything audible before of the organ of hearing . Odours should be placed before the sense of smell, and things that are tastable and tangible before de sense of taste and touch respectively ” (Comenio, 1638)This is not only a sensual approach to reality,In fact, and from a materialistic perspective, this is the only way for us to communicate with reality, by our sense.So, How can we learn if we are not connected with our environment or the other?How can we teach if we don’t experience the materiality of our study objets ?
So practice has been the most primitive and effective way for learning and teaching. As an example , Looking at my nephew Mateo… – a 6 month old beauty – I would say if tasting, making and imitating is not the oldest pedagogue method, it might be the most natural and primitive way to experiment with the vast outside world. In this moment of his short life, everything is eatable, his mouth is constantly looking for a new experience. Maybe, in his short memory, everything still being just a big breast for him.
Here, under the umbrella of experimenting and doing sensorial the learning process, I would like to talk about the workshop.
Last month I attended a delightful talk called “Against ‘Lab’ as Free-Floating Signifier … “by Lori Emerson at DH18. The talk inspired to me a couple of thoughts regarding this tendency to call everything a Lab. –Just here in front of this facilities of UAQM there is a bar named Lab.–
My first thought, it was about the next image.
This image is coming from the Act Lab in Austin Tx.The lab was directed by Sandy Stone, The image illustrates the term “codeswitching “, meaning in words of Stone ,”the umbrella translates experimental, Trans-ish language into case words, institutional language”
Somehow, this describes perfectly the main idea about Cuéntanos un secreto workshop. – and perhaps of education – So I did this new image trying to illustrate some socio cultural differences.
In essence it still being the same: the work of the umbrella/ lab/workshop is to create a neutral and open space for experimentation bytranslatingthis “experimentation” into administrative and institutional words. Also this means to neutralize the outside world, allowing the fellows participants to study.
Safe the students from crime, cartels, weapons, drugs but also from money loans and a huge list outside reality objets and stories .By this, I mean far of being a protective space, this is a space where imagination needs to happen: as white sheet of paper.
Tell me a secret workshop is the golden bastion of the project : It is during the workshop when we do community and we build trust based in daily experiences. As a docent Iwonder to my selfHow can I provide with meaningful experiences with lack of trust?How dare I ask for confidence if I don’t create a human experience ? How can we forget that the learning process is based on the experience with the otherness ? Without otherness We just don’t exist.Our learning process is based on sharing experiences with the other and , therefore, building community. We are Nosotros.
The workshop and the lab, both are places to do community by creating knowledge. It is an umbrella that provides a free and neutral space to experiment with knowledge.
My second thought, it was about looking for difference between labs and workshops, or atelier.This predominant scientific validation of Reality provokes a fashionable idea of calling everything a lab, while not everything is Science and science is not Everything. Nevertheless, when we look at the history of the AtelliersWe find a substancial element of the society from the medieval times until the beginningof the industrial revolution, previous to the mass production of students at the schools.The workshop was not only a place where knowledge and work was happening and distributed, it was the community ensemble for society.Surely, this deserves deeper thoughts and discussion.
Looking forward for the next years, in this transitional historical context, I wonder How different could be a workshop and labs ?
As my sister said: What it is not practices and experienced, does not exist.
A workshop is a free and neutral space to experiment with knowledge
Love is New Love is Old
or nothing is old , nothing is new
There are diverse samples coming from book history and written language that can provide with phenomenological contextto understand the mutation of the book andwritten language into the Networking and programable media.
Johana Drucker in her book “Grammatology” provides diverse samples coming from graphic design, book history and cinema theory . Also in “Uncreative Writing” Kenneth Goldsmith brought an extensive framework of samples mostly coming the visual arts.
Those samples rather than exemplify e-lit practices or digital culture into the futuristic new land of never ending tech. It contextualizes digital culture into the critical eyes of history. And place the computation practices into the ground of culture, where technology is a result of the human being.
Those examples are simple but in deep they condensed complex linguistic and media theories as the concept of the eventualize text by Katherine Hayles or Marshal Mcluhan ideas about” The medium isthe message.” Among some others structuralist theorist.
By instance,The New Art of Making books by Ulises Carrión and the Concrete Poetrymanifesto by Augusto de Campos. Both examples coming from the Art field – as manifestos.
Here, I want to clarifythat both of them don’t use scientific method, in fact they don’t look to demonstrate nothing at all. They manifest; that is the beauty. – AlsoBoth “theories” are far of being just theoretical frameworks for reading. They are visible, tangible, usable and playful in diverse art pieces. So they ensemble theory and practiceThereby, they can easily betracked, analyzed, compared, usedand played as pedagogue material.
Élika Ortega, in her essay “Not a case of words: Textual Environments and Multimateriality” (Ortega, 2017) , provides diverse examples about the impact of Carrion’s work for the textualities in the programable and networked media.
The new art of making books framed a fantastic cultural phenomena during the 60s, the Avant-gard practices for artist books or book-works, term named by Carrión to call those practices.The innovation of Carrion essay is by conceptualizing the ontology of the book , language and artist book practices.The new art of making books in an essential theoretical framework for all those who wants to question the book as an objet and as cultural institution.
What makes a book book? What is a book ?What is language? Does a rose means a rose or it is just the typical rose ?
Just by opening the door to these questions, it is a tremendous advance for understanding the book and language beyond print media.
As Ortega also pointed in her essay,the contribution of Ulises Carrion for understandingthe textualities in the network and programable media is by conceptualizing “the book asan autonomous space-time sequences ” This definition brings an alternative for diverse cultural expressions: some of them literally genders but some others expressions thats appeals to its own symbolic language, as an ordenadour of symbols.
By instance, on 23 May 1983, Ulises perform an organized sight seeing tour around the dutch city of Arnhem and its surroundings countryside. The tour was based on the “real” love story from artist and his wife:Ton and Ina.The people who signed forthe tour were visiting the most important places of Ton and Ina’s love story : ” the first time where they met ““when Ina’s father banned their love “” the first kiss” etc .During the tour you were going from point A to point B and so on .
Acording to Harry Ruhè in “Love Story” ( Ruhè, 1992) Ulises Carrion said: ” the city as organized chaos imbues the story with a clearand perceptible structure . A tour around the city , along the story’s most important point s, as an aesthetic experience. ”
Based on Carrion’s definition of a book “an autonomous space-time sequence,”(Carrión , 1975) then, Love story is an organizedsequence of moments contained in the city of Arnhem, fixed in time. The book as an autonomous reality close in time: May the 23, 1983
As a parallelism, this can easy be translated as sketch for user experience journey into the city.A geo locative narrative app using augmented reality technology for tourism would do a similar approach to Carrion art piece: go from point ato point band Tell a story .
Next, in the concrete poetry manifesto the Brazilian Augusto de Campos described concrete poetry as “Tension of things-words in space-time”(Concrete poetry Manifesto, 1956)
One of my favorite example to illustrate this statement comes by experimenting the collection of Poémobiles (1968-1974) . In particular, a poem calls In/comunicable
Base on paper pop-up technology,In-comuni-cable (1968) is a folded paper card within it holds 3 paper-cuts layers .Each layer, has it own text-content that shows itself in a consecutive order during the performance of opening the paper card. Inside the card, in the background layer is printed with red typography the word “in”.The next layer saids “Comuni” And in the last layer is written the word “cable”. This last layer, cut by the horizontal axis, allows the layer to show the content of second layer ” Comuni” . This will only happen when the paper card is entirely open. By that moment, it is already too late,the content of “cable “will not be readable any more.
In fact, the piece,it’s only “communicated” when the paper card is close .By that moment,the reader can’t know the cards content. Once again the card cannot communicate.
In contrast , the art piece will not have any meaning without the active interaction of the reader. Only when the reader plays the poem, it finds its own meaning . Yet it is the “tension” linked between the consecutive 3 layers and the interaction that shows in- communicable as meaning, a metaphor.
In 2006, in Time of digital poetryKatherine Hayles (Hayles, 2006) named the cyber text being “eventualized” being less discrete and self contained.This eventualizedtext is procedural: it is the result of processes and it can trigger processes, as well byhuman or non humans actors.It is self contained text in space time.
From this perspectiveDe campos Poémobiles seems to be a UX paper prototype ofKatherine Hayle’s eventualized text.In-comuni-cable is a self contained system and poem that signifies while it triggers its own process .
3. Los discretos (The discretes)
This is an old digital collection named Los discretos. It was produced in Faro de Oriente end 2012. Back in those days, I was trying to replicated Anacrón structure to explain participants, and my self, the constitution of a digital buttom with 3 diverses states: normal, over and trigger. The main idea was to regard the semiotics relations between those states used for narratives
At the end , We, Nosotros, were so happy to regard the trans-button result of the experimentation. The same year it was exhibited in Faro de Orinete two times in Exponencial12 and Hoy mañana no se ha ido.
A year later in the Netherlands, reading for the first time Dr Katherine Hayles in Time for digital poetry,(Hayles, 2006) she was constantly mention the discretes refering to those characters in print text media. Some how the idea facinated to me and I find an accurate name to contrast with that other “eventualized” text wich indedd means proceess.
The same year – a bit later – I was reading Roberto Simanowsky idea’s about the contradiction of Electronic literature in his essay “What is and to What End Do We Read Digital Literature?” (2009). He provided a great example using a buttom , Bomb, in the hiperficcion Zeit für dieBombe by Susanne Berkenheger wich I found a funny gestesture because it is the name of the famous and constant poem of Augusto de Campos. Bomba
This performative idea of using digital buttoms states as a semiotical space regards the principles of concrete poetry manifesto : Tension of things-words in space-time. Those states works in a systematic underastanding of the whole poem with the interaction – or action – as part of the poetic language
Between both, I understood the relation that I was facing in the electronic secret collection of Faro de oriente . Since then I prefer to call this collection Los discretos ( the discretes) . Those self contained objet wich in performance aims to find or understand “thetext”. –or what ever does that means. –
“there will not be literature any more. There will be , perhaps , new ways to communicatethat will include language or will use language as basis. As a medium of communication , literature will always be old literature” Ulises Carrión
Ortega Elika (2017) “Not a case of words: Textual Environments and Multimateriality in Between Page and Screen” in Electronic Book Review Journal [Online] Available in : http://electronicbookreview.com/essay/not-a-case-of-words-textual-environments-and-multimateriality-in-between-page-and-screen/ [Acceded:19th August 2018]
Comenio, JA (1638) The Great Didactic Translated into English by by M. W. Keatinge, M.A. New York: Russell & Russell. (1967) [Online]Available from: http://urweb.roehampton.ac.uk/digital-collection/froebel-archive/great-didactic/index.html [Acceded:19th August 2018]
Campos, A ( ca.1968) Incomuni/cable [Online] in Poemamobiles Concreate poetry poem Brazil Available from: http://www2.uol.com.br/augustodecampos/05_05.htm [Acceded 19th August 2018]
Carrion, U (1975) The New Art of Making Books in Kontext 6-7. New York: Center for books arts [Online] Available from http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Ulises%20Carrion,%20The%20New%20Art%20of%20Making%20Books.pdf [Acceded: 19th August 2018]
Carrión, U (1983) “Love Story.” Video – Performance [Online] Available from http://www.li-ma.nl/site/catalogue/art/ulises-carrin/love-story/533 [Acceded: 19th August 2018]
Concrete Poetry Manifesto (1956) [Online] Translated from the portuguese by Jhon Tolman . Brazil, São Paolo Available from http://www2.uol.com.br/augustodecampos/concretepoet.htm [Acceded:19th August 2018]
Ruhé Harry, (1992) “Love Story” in We have won ! Haven’t we ? Ed. Guy Schraenen. Museum Fordor, The Netherlands, Amsterdam.
Emerson, Lori (2018) “Against ‘Lab’ as Free-Floating Signifier: From Appropriation to Counter-Cooptation and Codeswitching” presented in Digital Humanities 18 “Puentes/Bridges” ADHO, Mexico city .