Some other workshop Manifest (Drafts)

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.

3. Interaction

  • 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. 

4. Dynamics

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

5. Iteration

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.

— Workshoping— 

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. 


Trueque: a meaning beyond the object

A workshop refers to an arrangement whereby a group of people learn, acquire new knowledge, perform creative problem-solving, or innovate in relation to a domain-specific issue (Ørngreen & Levinsen, 2017) and inspired by the Blueprint for Counter Education a set of posters  that  serve as a portable learning environment for a new process-based model of education. This experiment is aiming to combine both concepts and remediate Trueque experience into a bookwork/gameboard/artifact 

This book is awesome .it is a facsimile printed in 2016 but the original edition was published in the late 60s by Maurice Stein and Larry Miller. I am totally astonished by these educational artifacts !! They are so visually atractive and energetic as a poster, and they were innovative proposal visual material for non lineal reading as well . In addition they are functional artifacts that deploy workshops . WOW

The main objectives of this exercise is : 

  • to remediate a concept of Trueque marketplace . There are already remediation I have done previously for the digital realm, Trueque for Salutches and Trueque de talleres (Workshop trandes, exchange of knowledge).
  • To explore the concept of  human and non human agents based on Bruno Latour (2005) ideas  and some others post humanist thinkers. One of my main concern is about the ontology of the agents . How can we value agency ? For this edition, I used as parameter “attributes” as a way to deploy trades between participants.
  • to apply the the actor network theory. So far I have been notice that there are more doubts about how to apply ANT (2005) as method, than proposals. So this exercise is a inquiry that I would like to discuss later in Reassembling the social reading group *( Open monthly meetings that I organize online)

Trueque” is a system of exchange in which participants in a transaction directly exchange goods or services without using a medium of exchange, such as money, The concept is originally from pre-colombian cultures.

For this edition of the trueque experience, I will create a bookwork/game board. I do considered the artifact as the facilitator of the workshop, so would prefer to named it “Geppeto

During this workshop experience we will exchange human and non-humans agents based on their attributes for PLINTH exhibition project. PLINTH is organized by Baart Gert, Together with five more colleges We will explore the exposition and exhibition possibilities for artistic research. There will be 3 iteration of the project for the next months. The first exhibition will be hosted by Luca School of arts at C-mine in Belgium. The project inquire, as well , in online and offline formats , so who knows where are we gonna remediate Trueque again.

As I am living in Mexico city, I have designed this paper prototype and proof on concept, Both project were played at different moments, several times with people in a coffee shop close to my place here ( “El cafe” ) This too place between the 20 of March and 15 of April 2020

There are some questions that have been around my mind, at the time I was designing this experience. Those were not meant to be answered perse, rather they are guide questions for participants and readers to keep mind

  • What is a human and not a human agent ?
  • Do human and non-humans share the same ontological value ?
  • What do we, as community, value when we have to trades different kind of agency ?
  • What would be the most fair way to exchange humans and non-humans agents?
  • What is our relationship with the other objects?

Participants and duration:
The experience last as along the artifacts (posters and boards) are displayed,
Everybody is welcome to participate as many times they wish.

INSTRUCTION (First iteration, paper prototype):

  1. All participants write down or draw a human or nonhuman agent in five blank card. One agent per card. This could be a biological agent, (Ex. an ant), a process ( Ex. kissing strangers in the street ) or an artifact ( Ex.a cellphone )
  2. Drop all the cards in the box of existence and shuffle the cards
  3. Take nine cards randomly and display those on the Trueque board
  4. One participant, Take one card from the box 
  5. Exchange this card with one the cards that are already displayed in the Trueque board. The exchange should be based on one attribute that both objects share. For example, you can exchange the Caribbean sea, for meant ice cream, both of them are turquoise;  or you can exchange your best lover for a piece of meat.
    Participant can also add attributes to those objects when this is not explicitly written down on the card or it doesn’t contradict the natural state of those objects.  For example: All sunflowers are yellow (this is a natural state) but not all the roses are roses. I will exchange the card label rose for my best lover named Rose. 
  6. If you add an attribute to those agents,  You should write it down in the back of the card. From now on, this value (attribute) should be considered for future exchanges. The name of my best lover card will be Rose.  She will never be Rita
  7. Write your exchange and why you did that exchange: Vinicius /  sonora lithium desert  for a cell phone battery . 
  8. Next participant inherit the previous card.

This paper prototype was played between 3 participants. We modify it around 3 times with small variants on the rules set. For example, I noticed that the game flow was improved by inheriting the last card picked by the last player. Therefore participant in turn cannot have a full control on what is the next move
Also I realize that this is a storytelling game like , so when you play it between people at the same time, it creates a sort feeling of community. People start to introduce elements from their personal life or they start to co-create fantastic stories between them.

One of the main concern was when to stop.

The board can be extended , but I think is better to keep it smaller and simple. Maybe when there are more participants would be interesting to extend the board.

Back side:
A mi mejor amigo se le murio un hijo [the son of my best friend dies] | El viento le recuerda la muerte [the wind remebers him death]| ese dia aparecio saturno[ that day Saturn appeared ] | origina el mito del ojo [and it originates the eye myth]| Da forma un globo aeroestatico [ it forms like an aerostatic balloon ]

INSTRUCTION (Second iteration, game installation):

  1. Take one agent (card) randomly from the box
  2. Exchange your agent for another in the Trueque board. The exchange should be based on one attribute that both agents share. For example, you can exchange the Caribbean sea, for meant ice cream, both of them are turquoise; or you can exchange your best lover for a piece of meat.
    Note. Once an object is set with an attribute, it is set for future exchanges. Now we know the Caribbean sea is not green, it is turquoise and your lover is not a plastic doll or a dildo.
  3. Write down on the blank side of both cards, the attributes that link both objects . Link stories.
    For example. The caribean sea is turquoise *(other card) Such a delicious ice cream , it remember me the color of the sea of my childhood in Cuba
  4. Place the new agent in the board
  5. Put the other in the box,
  6. Exchange this card with one the cards that are already displayed in the Trueque board.
  7. Comeback soon and check how your story evolve.

For this edition We include abstract symbols or drawings, such as “” no equal or “∴” therefore , a black square or the typographical characters as a single “A” .
Do people will return to see how their stories evolves ? will they feel curious about who else intervene their stories ? would they be interested to meet some other players ?

By the moment I am waiting to see how does this project evolves. I will leave the installation for a week . I hope to get soon more result of this project

Mapa Onírico


Hola a todos , les espero en mi próximo taller “Mapas Oníricos” el cual se realizará del 8-10 de junio  Trampa Gráfica en  Cd de México.

El taller  busca explorar los sueños y utilizar las capacidades multimedia  e hypertextuales de la web para la realización de una narración digital.

Durante el taller exploraremos técnicas de bocetaje que nos ayuden a visualizar nuestra narración . Después,   revisaremos conceptos básicos de HTML y CSS para la realización de nuestra experiencia onírica.

Espero puedan asistir al taller  y compartir tiempo , sueños y experiencia con nosotros.

Más sobre el taller , a continuación .


El taller , desde un punto de vista técnico, es una pequeña intro a css, html y js.  Ver temario .
Asi mismo , La Trampa pone el espacio en caso de nesecitar más sesiones . (1-2)


Ver fecha lugar y costo sobre el  taller:


Mapa Onírico

Taller de mapeo onírico

Palabras clave:

E-lit, Diseño Ux , Narrativas, Sketching, Prototipos , HTML, CSS

Taler práctico-teórico

Dirigido a artistas, escritores, diseñadores e interesados en el tema.

Cupo Máximo: 20 personas

Mínimo: 5 personas

Necesario Laptop

Num de horas: 12 horas


  • Resolver narrativas oníricas
  • Crear tu propio mapa onírico
  • Explorar técnicas de wireframing y mapeo
  • Introducción a Html y css


Taller que explora los sueños a través de narrativas digitales. Para esta edición en La trampa gráfica realizaremos objetos oníricos hechos en HTML5 que exploren las narrativas digitales.


Los sueños son parte substancial de la vida humana, en ellos pasamos una tercera parte de nuestro dia. Cuando algunas personas son incapaces de recordar sus propios sueños, otros tienen experiencias «consientes» o lúcidas durante ellos. Es complejo entender las razones por las cuales puede existir esta lucidez, sin embargo hay diversos factores fisiológicos, psíquicos y técnicas que podrían ayudarnos a tener este estado de conciencia en los sueños. Por ejemplo ,  escribir nuestros sueños tan rápido como despertamos podría ayudarnos a recordar mejor lo sucedido durante este estado de reposo.  .

Aveces los sueños parecen estar lejos de tener una lectura linear o una descripción estricta de lo sucedido. Nosotros utilizamos palabras escritas o habladas para expresar significado de lo que queremos transmitir pero también producimos imágenes, movimientos y sonidos para comunicarnos. En algunos casos estos elementos lingüísticos son difícil de describir. Nuestro lenguaje esta lleno de símbolos. Estos símbolos están llenos de significados personales y socio culturales . –psicólogos como Carl Jung han reflexionado profundamente al respecto–. Pero incluso, describiendo nuestros sueños aveces estamos lejos de alcanzar un entendimiento total de los mismos. En mi hipótesis, tal vez los sueños no son historias lineales o están constituidos de diversos elementos lingüísticos difícil de describir, cómo el olor del agua de tu ciudad oriunda, el sonido del mar en invierno o simplemente formas y sonidos abstractos.

El mapéo y el wireframing son herramientas de los diseñadores de UX e ingenieros para  entender procesos y sujetos en sistemas complejos. Estas herramientas nos dejan visualizar  de un vistazo el sistema por entero. También, podemos experimentar intuitivamente con los diversos elementos de una estructura. Por ejemplo, los utilizamos para entender el flujo eléctrico de un diagrama electrónico, los procesos en un línea de producto o las pantallas en la narrativa de un sítio web. 

Este taller llama para entender el sueño como un sistema. A través de la fragmentación en partes y re organización de nuestros sueños. Nosotros buscaremos aproximarnos de una manera holística que nos permita visualizar cada uno de los elementos  y la estructura de nuestros sueños.

Así mismo durante el curso exploraremos conceptos básicos de HTML5 yCSS (con una pizca de javascript). 

Este taller busca responder las siguiente preguntas :

¿ Son las técnicas de mapeo de UX una solución para entender mejor nuestros sueños?

¿Podemos mejorar las experiencia de nuestros sueños a través de estas técnicas ?

¿Como imaginamos el resultado de ésta textualidad electrónica?

Temario .

1.E-lit. El lenguaje en el espejo.

2. Técnicas de Ux Design:

-Wireframing ,

– Paper prototypes

– Flow chart

3. Código :  Conceptos básicos de HTML, CSS

  • Que es HTML?
  • Elementos básicos de HTML: head, title, body , div . 
  • Atributos de un elemento de HTML: Id,  alt, width, height, href , src , disabled
  • Etiquetas populares de HTML.
  • Qué es CSS ?
  • Sintax de CSS
  • Colocación de CSS 
  • Ayuda de nuestro amigo Javascript  | Metodología: ingeniería en reversa .
  • Colocación de código Javascript
  • Funciones pre-construidas de java script
  • Modificación de Javascript

4 Taller Onírico


  • Hayleys Katherine (2008) «Electronic literature, New horizons for literary»University of Notre Dame  Indiana USA
  • Carrion Ulises (1975) The New Art of making books. In Kontext 6-7. Center for books arts: New York. [Online] Available from: classes/artistsbooks/Ulises%20Carrion,%20The%20New%20Art%20of%20Making %20Books.pdf
  • De Campos , Augusto (1979) The  concrete poetry manifesto Available online in [ ]
  • Gottlieb, Sarah (2015) «A conversation with Bob Stein from the Institute of the book» in  The form of the book book Occasional papers 3th edition 2015 Albe de Coker , Atwerp Belgium
  • Jung Carl (1964), «Man and his symbols» Aldus book limitated. London England.   
  • Drucker, Johana (2014), «Graphesis Visual forms of Knowlege and production» Harvard press. Cambridge, Massachusetts and London, England.
  • -Buxon Bill (2007),  «Sketching User Experiences» Ed. Elsevier, San Francisco, USA

Ver detalles sobre el  taller :