Good Day!
I will be grateful if you can pass this word around and if you can also
attend some of the curators panels about WATER WORKS!
28 February 2016 is the deadline for submissions
19/20 March (depending on your timezone): be part of the discussion and
presentation of the WATER WORKS! online exhibition.
PLEASE SAVE THE DATE :-)
WATER WORKS! celebrates those that work for water, the work water does,
and the works it creates.
We are looking for strong works relevant to the theme of the final big
event on Waterwheel: WATER WORKS!
Contribute, come to the online exhibition, join the discussion. Everyone
and all ages are welcome.
HOW TO PROCEED: http://r.water-wheel.net/water-works.pdf
COMMENT PROCEDER : http://r.water-wheel.net/eau-travaille.pdf
CÓMO PROCEDER: http://r.water-wheel.net/obras-del-agua.pdf
- - - - - - - - - - - - - - - - - - - - - - - - - -
An online workshop about DIY Live Audio Streaming will be hosted on
Waterwheel during Water Works! 19/20 March, led by SoundCamp streaming
technician Grant Smith. Info http://bit.ly/1WshMaq Please register your
attendance asap.
- - - - - - - - - - - - - - - - - - - - - - - - - -
Cheers
Suzon
WATERWHEEL, Make & Share about Water
http://water-wheel.net
Skype: suzonfuks | mob: +61-439 929 028 | Tel:+61-7-3255 8355 | 3/27
Waverley St - Annerley QLD 4103 - Australia
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Thursday, February 18, 2016
Monday, February 15, 2016
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Monday, February 1, 2016
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Friday, January 15, 2016
[Yasmin_discussions] Transformative and Critical Making
At the outset, I would like to extrapolate from some points mentioned by Dr
Malina that I found extremely insightful in the shaping my thoughts around
some aspects of critical making. I find Seb Franklin's view of control
systems being an infinite continuum of socio-cultural feedback loops to be
an elegant model that does not differentiate between analog and digital
practices, modes of production and representation of information, the human
and the virtual machine, and places interfaces of contention within the
framework of embodied cognition.
I find the epochal differentiation of 'anthropocene' and 'digital' made by
Colette Tron to be different from the above view but probably best pursued
in another thread (infact 'anthropocene' as a world view proliferated on
the web collective - as discussed in a post of mine with Dr Bruno Latour
http://goo.gl/F22BjX). An interesting point raised by Colette to describe
the points of transition between 'making as self-reflection' and 'making
for merchandising' has catalyzed some parallels that I would like to draw
with respect to dynamics in the evolution of 'network society'.
Malina that I found extremely insightful in the shaping my thoughts around
some aspects of critical making. I find Seb Franklin's view of control
systems being an infinite continuum of socio-cultural feedback loops to be
an elegant model that does not differentiate between analog and digital
practices, modes of production and representation of information, the human
and the virtual machine, and places interfaces of contention within the
framework of embodied cognition.
I find the epochal differentiation of 'anthropocene' and 'digital' made by
Colette Tron to be different from the above view but probably best pursued
in another thread (infact 'anthropocene' as a world view proliferated on
the web collective - as discussed in a post of mine with Dr Bruno Latour
http://goo.gl/F22BjX). An interesting point raised by Colette to describe
the points of transition between 'making as self-reflection' and 'making
for merchandising' has catalyzed some parallels that I would like to draw
with respect to dynamics in the evolution of 'network society'.
It is apt to bring to light the life of an inventor and maker, one Mr Almon
Strowger, whose important contribution to communication networks was born
from the 'business of death'. For Strowger was an undertaker in Missouri,
in a town where there was yet another undertaker whose wife began to work
as a switching operator in the local telephone exchange. Every time a call
came in regarding a death of a person in need for a coffin and funeral
service, the wife routed the call to her husband, thereby putting Strowger
out of business. The hapless Strowger gained inspiration to make a
brilliant machanical contraption that could automatically switch calls
giving rise to the first automated telephone network also popularly
referred to in engineering text books as the Strowger Switch. (
http://www.google.co.in/patents/US447918) Consequently was formed in 1892,
the Strowger Automatic Telephone Exchange Company at Indiana with about 75
subscribers. Strowger later sold his patents for a paltry $10,000 in 1898
to the Automatic Electric Company, a competitor of Bell System's Western
Electric. His patents were eventually acquired by Bell systems for $2.5
million in 1916, showing just how much growth and investor interest the
telephone industry had gained by then.
As automatic circuit-switched telephone networks expanded rapidly,
connecting disparate regions around the globe, the 1960s saw the birth of
the ARPANET, that later evolved to the internet as we know it today. In
contrast to mechanical circuit switching employed by telephone lines, the
internet works on packet switching, where 'soft switches' routed
information between source and destination using the physical network,
sparking a war between 'carriers' of information and their providers, which
has culminated in the debate of 'net-neutrality' as we know it even today.
It is debatable wether the 'invention' of Strowger to cater to his own
self-interest, that later revolutionized the telephone industry maybe
called 'Critical Making', nevertheless the intention of the 'instrument'
that he created, was to remove information bias and promote fair
competition within a neutral network. The making of the internet on the
other hand cannot be attributed to a single person as the free and open
source stack of the ARPANET was built by a community of chosen scientists
in 2 weeks for an 'exhibition' at the first International Conference on
Computer Communication (1972). The numerous trust-based protocols of
interaction and exchange, standards, and algorithms that keep the internet
alive are part of a free and open source stack. Yet, the very same open
stacks have been used to make closed and proprietary systems that govern a
vast amount of processes in today's networked society.
My goal here is not to pitch critical making for 'open systems' against
'closed ones' but to call for the need to situate Critical Making into the
larger framework of Intellectual Property regimes that exist in a constant
flux between being open and closed, beyond the argument of 'Property
Rights'. In developed countries this debate often weighs the rights of the
owner vs the moral rights of the user, but in developing economies the
conversation moves beyond ' permission based fair use' doctrines and
'creative commons approaches', that has often witnessed the use of content
in a way that breaks all norms in intellectual property regimes.
Furthermore, I feel there is a need to analyze differences in the notion
and perception of 'Openness' and 'Fair use' in both these regions.
Yet another meta layer associated with Critical making has been
Attribution, which can be gamed as well. On one hand 'Attribution' (self or
community driven) has taken the role of 'incentivizing' the critical maker
to produce and publish his work in the open domain, while on the other hand
there are critical makers who embrace 'anonymity' and sometimes even 'false
attribution', if the making activity bears undertones of subverting
socio-political norms.
Today's networked society is driven by a 'search engine bias', where
equitable access to the network , open access to knowledge, and the tenets
of net-neutrality have yet again come under threat. As the internet is in
the throes of renewal in 2016 with the US Department of Commerce & ICANN
pulling out of internet governance, will we see a more equitably
distributed network topology emerge across nations built on the same open
values in which the internet was made?How differently must 'Critical
Making', the publication of the Critical Making processes and the knowledge
be aligned to embrace the values of the very same open network that its
proliferation rides on? How will the makers of this medium evolve to become
transformative pallbearers of the old networks's funeral rather than take
the role of the undertaker's wife?
I request your feedback along with any readings that might make the above
thoughts more lucid. In my next post I would like to address the Critical
making movement through the lens of my own practice as a radio frequency
hacker and amateur radio astronomer in the intersection of the arts and
science.
Regards
Sharath Chandra Ram
(Sharathchandra Ramakrishan)
Faculty, Srishti Institute of Art Design and Technology
Researcher, Centre for Internet and Society
sharath@srishti.ac.in
sharath@cis-india.org
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Thursday, January 14, 2016
[Yasmin_discussions] critical making and theoretical ideas
Hello Yasminers,
In this posting I would like to focus on transformative
critical making mostly from a pragmatic point of view,
including the Semaphore Research Cluster?s (University of
Toronto) contribution to participatory culture. To quote
Matt Ratto our director, who is credited with coining
the term of critical making: ?Most of my own critical
making engagements have focused on navigating the complex
pathways between expression and instrumentality, choosing
not to engage directly with either art and design or
science and engineering My main interest is in new
socio-technical arrangements that trouble current
articulations between modes of engagement that we have
typically thought of as virtual and modes that we have
typically thought of as embodied.?
A major Semaphore project is a collaboration with an
Ugandan hospital to use 3-D scanning and printing to
speed the process of creating and fitting sockets for
artificial limbs. As a consequence a 3-D scan of a
Ugandan?s residual limb can be sent within seconds to
another part of the world where a prosthetist can digitally
design a replacement, sending that file back to Africa
to be printed.
Among many other projects, Gabby Resch, one of the
researchers at Semaphore organizes public basic electronics
workshops for children such as the workshop concept for
4-6 year old kids using Lego bricks to foster greater
understanding of 3D design processes.
On other continents: In South Africa, the Trinity Sessions
group based in Johannesburg is focused specifically on
social intervention, introducing alternative approaches.
The group lead by Marcus Neustetter and Steve Hobbs,
presented at this year?s Ars Electronica Festival Renaming
the City aiming to get everybody involved in the naming
process. Kitchen Budapest in Hungary currently intends to
rethink and remix the possibilities of new media in everyday
lives and to develop stronger connections between new
technologies and society. Medialab Prado is a citizen
laboratory for the production, research and dissemination
of cultural projects that explore collaborative forms
of experimentation. Prado operates on an open platform
offering multiple forms of participation
The above are some international examples from my personal
experiences. Of course there are many other networks
focusing on open source based activities such as Lab Sur Lab
a meeting and network of hacklabs, hackerspaces, biopolitical
laboratories and collectives in Latin America.
Creativity, innovation, collaboration and cross-disciplinary
practice are the elements that will form a new balance in
transformative critical making, a rapidly developing movement.
The activities at the Transformaking 2015 Summit -a key example
of bringing together international ?makers? in Yogyakarta? is
a prime source of inspiration for this discussion.
_______________________________________________
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Yasmin URL: http://www.media.uoa.gr/yasmin
SBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
In this posting I would like to focus on transformative
critical making mostly from a pragmatic point of view,
including the Semaphore Research Cluster?s (University of
Toronto) contribution to participatory culture. To quote
Matt Ratto our director, who is credited with coining
the term of critical making: ?Most of my own critical
making engagements have focused on navigating the complex
pathways between expression and instrumentality, choosing
not to engage directly with either art and design or
science and engineering My main interest is in new
socio-technical arrangements that trouble current
articulations between modes of engagement that we have
typically thought of as virtual and modes that we have
typically thought of as embodied.?
A major Semaphore project is a collaboration with an
Ugandan hospital to use 3-D scanning and printing to
speed the process of creating and fitting sockets for
artificial limbs. As a consequence a 3-D scan of a
Ugandan?s residual limb can be sent within seconds to
another part of the world where a prosthetist can digitally
design a replacement, sending that file back to Africa
to be printed.
Among many other projects, Gabby Resch, one of the
researchers at Semaphore organizes public basic electronics
workshops for children such as the workshop concept for
4-6 year old kids using Lego bricks to foster greater
understanding of 3D design processes.
On other continents: In South Africa, the Trinity Sessions
group based in Johannesburg is focused specifically on
social intervention, introducing alternative approaches.
The group lead by Marcus Neustetter and Steve Hobbs,
presented at this year?s Ars Electronica Festival Renaming
the City aiming to get everybody involved in the naming
process. Kitchen Budapest in Hungary currently intends to
rethink and remix the possibilities of new media in everyday
lives and to develop stronger connections between new
technologies and society. Medialab Prado is a citizen
laboratory for the production, research and dissemination
of cultural projects that explore collaborative forms
of experimentation. Prado operates on an open platform
offering multiple forms of participation
The above are some international examples from my personal
experiences. Of course there are many other networks
focusing on open source based activities such as Lab Sur Lab
a meeting and network of hacklabs, hackerspaces, biopolitical
laboratories and collectives in Latin America.
Creativity, innovation, collaboration and cross-disciplinary
practice are the elements that will form a new balance in
transformative critical making, a rapidly developing movement.
The activities at the Transformaking 2015 Summit -a key example
of bringing together international ?makers? in Yogyakarta? is
a prime source of inspiration for this discussion.
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions
Yasmin URL: http://www.media.uoa.gr/yasmin
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[Yasmin_discussions] Yasmin_discussions] critical making and theoretical ideas
From Eva Bubble, Transformaking2015 Summit participant
As participant of Transformaking 2015 held in Yogyakarta, I will give
an account on our project, highlighting some basic ideas related to
the field of critical making.
As an environmental art organization, Green Root Lab participated in
Transformaking Festival with its research project about water quality
and filtration possibilities. The basic problem giving the core of the
project was the lack of drinking water or clean water in Indonesia,
where people do have their wells and can boil the water they get from
there, but in many cases this water still contains harmful metals or
even bacteria, therefore, they are forced to buy bottled water of
companies ? if they can afford it. So our main focus was health and
environment as well as the idea of a self-supporting local community
and a stand against the power of consumerism. And last but absolutely
not least: experimenting.
After reviewing the relevant literature to our idea, we decided to
experiment and build a (material) prototype for water filtration
and/or purification. We chose to use a ?traditional innovation,?
natural materials that are easily available (stones, sand, activated
carbon), bearing in mind a sustainable system. Given that none of us
are scientists or specialized in water management, it was truly an
exploration process to jointly extend our skills and knowledge on the
issue. Being a painter is mostly a lonely activity but this ?making?
process encouraged collaboration and resulted in a shared knowledge
and open design.
We had to be critical, reflective, and constantly raise questions to
ourselves. After analyzing the water samples (before and after
filtration) we were faced with what worked and what did not with the
prototype (i.e., it reduced the metals but did not filter the
bacteria). This gave curiosity and reason for further exploration, and
at our present stage, new ideas and alternative possibilities are
being investigated.
All in all, we were and are researching innovative solutions with
respect to traditional methods at a local level to offer usable,
affordable and empowering solutions for a basic problem. Also we can
conclude that our project is driven by curiosity and being eager to
learn and experiment with materials to meet our ideas.
Eva Bubla (Green Root Lab)
Keywords: consumerism, curiosity, ecology, environment, experiment,
exploration, health, local community, open, reflective, shared,
self-supporting, sustainable, water
_______________________________________________
Yasmin_discussions mailing list
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Yasmin URL: http://www.media.uoa.gr/yasmin
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HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.
If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
As participant of Transformaking 2015 held in Yogyakarta, I will give
an account on our project, highlighting some basic ideas related to
the field of critical making.
As an environmental art organization, Green Root Lab participated in
Transformaking Festival with its research project about water quality
and filtration possibilities. The basic problem giving the core of the
project was the lack of drinking water or clean water in Indonesia,
where people do have their wells and can boil the water they get from
there, but in many cases this water still contains harmful metals or
even bacteria, therefore, they are forced to buy bottled water of
companies ? if they can afford it. So our main focus was health and
environment as well as the idea of a self-supporting local community
and a stand against the power of consumerism. And last but absolutely
not least: experimenting.
After reviewing the relevant literature to our idea, we decided to
experiment and build a (material) prototype for water filtration
and/or purification. We chose to use a ?traditional innovation,?
natural materials that are easily available (stones, sand, activated
carbon), bearing in mind a sustainable system. Given that none of us
are scientists or specialized in water management, it was truly an
exploration process to jointly extend our skills and knowledge on the
issue. Being a painter is mostly a lonely activity but this ?making?
process encouraged collaboration and resulted in a shared knowledge
and open design.
We had to be critical, reflective, and constantly raise questions to
ourselves. After analyzing the water samples (before and after
filtration) we were faced with what worked and what did not with the
prototype (i.e., it reduced the metals but did not filter the
bacteria). This gave curiosity and reason for further exploration, and
at our present stage, new ideas and alternative possibilities are
being investigated.
All in all, we were and are researching innovative solutions with
respect to traditional methods at a local level to offer usable,
affordable and empowering solutions for a basic problem. Also we can
conclude that our project is driven by curiosity and being eager to
learn and experiment with materials to meet our ideas.
Eva Bubla (Green Root Lab)
Keywords: consumerism, curiosity, ecology, environment, experiment,
exploration, health, local community, open, reflective, shared,
self-supporting, sustainable, water
_______________________________________________
Yasmin_discussions mailing list
Yasmin_discussions@estia.media.uoa.gr
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Yasmin URL: http://www.media.uoa.gr/yasmin
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If you prefer to read the posts on a blog go to http://yasminlist.blogspot.com/
Wednesday, January 13, 2016
[Yasmin_discussions] critical making and the redesigning the human
yasminers
we have just published two interesting podcasts on creative disturbance
that discuss critical making in the context of the human body:
Christina Cogdell address how modern synthetic biology treats the body
as designable- and links this to the eugenics movement
http://creativedisturbance.org/podcast/from-eugenics-to-synbio-design-eng/
By looking at the history of Eugenics and Design, Christina Cogdell
questions the cultural values we affect to biologically designed
artifacts and how humans, through that process, may become mere
products. She also takes into consideration the evolution of
technology in relation to the history of energy and the horizontal
gene transfers that occur between living organisms to balance her
'techno-pessimistic' approach.
http://www.upenn.edu/pennpress/book/14070.html
With a very different perspective Stelarc talks about his ability to fuse
himself with robotic systems and talks about the range of properties
that constitute 'aliveness"
http://creativedisturbance.org/podcast/operational-aliveness-with-stelarc-eng/
Stelarc comments the various degrees of aliveness running through his
work from his recent robotic choreography (Propel, 2015) which
combines the automated and the improvised. In reflecting upon the
NeoLife conference opening exhibition Futile Labor (I. Zurr, O. Catts,
C. Salter, D. Wards) that examined shifting perceptions of life
through motion and agency, Stelarc offers elements of response to the
very question of what minimum vocabulary of behavior or movement is
needed to generate a sense of aliveness.
http://stelarc.org/video/?videoID=20300
would be interested in comments on critical making and redesigning the
human
roger malina
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