[-empyre-] SenseLab - new forms of collaboration

carol-ann braun carol-ann.braun at wanadoo.fr
Tue May 14 18:39:44 EST 2013


Being discouraged: intrinsic to any difficult task, whatever the field
Being encouraged:  a gift/an expectation, in part passive.
----->  Courage: wat it takes.

The subject of collaboration+art+activism(+ or - technology) brings up the
subject of (civic) education (?)





le  13/05/13 19:54  Erin Manning  erintango at gmail.com wrote:

> ----------empyre- soft-skinned space----------------------
> 
> So much to think with - thank you Ana, Cecilia, Brian etc. Just quickly - I've
> been thinking about the idea of singularity creating/effecting collective
> practices and vice versa. I think for me the practice is always transrsal.
> For instance, we think of was in which we can find government funding that
> will allow us to "give" atudent (or post-doc) to an activist organzation
> that cannot itself have access to this. Not money directly, b time shared.
> This of course feeds ustoo. Or we try to think of where immediate necessities
> lie : who needs time, and who needs money. How can we give collaborators what
> they need (how can we make it possible for them not to have to take on another
> part-time job, but alsohow can we find time for those of us who have money
> ut are exhausted). How are these alter-economies created, and how can we
> collectively invent more and more ways to make this possible? The grant system
> in Canada makes this more possible than the merican system, for instance,
> which is far more priatized. But that has its pitfalls too, as it keeps you
> in an institutional framework (even to the extent that you have to create
> projects that have measurable outcomes, or at least find ways to
> instrumentalize practice to some extent). I would say that our process is
> therefore always moving between the two poles - starting collectively and
> having singular effects, and srting at the singular for collectie effects.
> We work a lot with the Guattarian idea of the group subje - the idea that
> the project itself cn generate a subjectivity that is collective and singular
> at theame time. Over time we have become moe and more successful at this -
> we are currently thinking of ways in which we can extend it to our publishing
> practices (Inflexions, in particular).
> 
> I suppose I would say that the downfall of he institutional as a model for
> thought is its inceasing tendency to instrumentalize practice. But I also
> wouldn't easily be able to come up with something that isn't or can't become
> an institution. So I try to think aboutthe elasticity of the model - how well
> can we mange across forms of practice, including the more institutional ones?
> When is it necessary or even beneficial to connect in? When must we at all
> costs disconnect? So yes, I agree Carol-Ann, that activism and artistic
> intervention needs to function at all scales.
> 
> And exhaustion... How closely connected exhaustion and exheration can be....
> How do we aoid burn-out? How do we keep the sense of urgency without
> develing resentment?
> Erin
> 
> 
> On 201-05-13, at 10:08 AM, carol-ann braun <carol-ann.braun at wanadoor>
> wrote:
> 
>> ----------empyre-soft-skinned space---------------------- Re: [-empyre-]
>> SenseLab - new forms of collaboration
>>>>> >>> The relational has been absolutely central to our practice, as you
>>>>> surmise, and it is wha moves us beyond a focus on humanism toward an
>>>>> "ecology of practices."
>> 
>> Thank you for the term “ecology of practices.” The word “practices” brings
>> the notion of accountability to bear on initiatives that are rehearsed,
>> shared, sustained...and looking for an echo in a arger system.
>> 
>> To harken back to the question of scale in this collaborative “ecology of
>> practices”: how can collective intelligence exclude those forms of
>> intelligence made possible by institutions?
>> Isn’t part of the ecological challenge to reinforce the flows of
>> communication and accountability throughout society? At all scales?
>> 
>> Just this morning I read an interesting interview of Bernard Stiegler :
>> http://www.lejdd.fr/Economie/Actualite/La-France-dans-dix-ans-Entrer-dans-la-
>> troisieme-epoque-du-Web-606814
>> 
>> His “ecology of practices”...is a “peer to peer” dynamic: doctoral students
>> working with amateurs working with industry working with kids and their
>> families...(forgive the over-simplification...)
>> An interesting hybrid of registers, multi-scale and non-hierarchical –
>> perhaps current in the States, less so in France where such initiatives
>> elicit interest but have no “standing”.... (marginality is a form of
>> precarity). 
>> This entails rethinking the legal framework that defines what it means “to
>> work”. He argues that the economic status of artists should become the norm
>> (called “intermittents du spectacle”...a fragile status...and,
>> parenthetically, not mine, which shakier).
>> Of course, he’s assuming that the French government can continue to supply
>> the social safety net which makes this status possible...
>> 
>> Bifo (thanks for the link!) evokes the precarity that comes with the
>> “pulverisation of work”...and the “general exhaustion”...that comes with an
>> aging population.
>> He also asks how we can “measure value in terms of time if the productivity
>> of cognitive work (creative, affective, linguistic) cannot be quantified and
>> standardized?”
>> 
>> And, to move on to Brian’s comment, not without irony:
>> 
>>>>> >>>“Hyperactivity seems to be the correlate of the ontological
>>>>> impossibility of collectivity...”
>> 
>> Is exhaustion also the price paid “for naiveté?”  Oops, I meant, “ for our
>> current difficulties in grasping the value of our efforts...”  ...LIfe-sized
>> design snafu...
>> 
>>   
>> Carol-Ann
>> 
>> PS Have now turned to Cecilia’s links :-)
>> 
>> 
>> le  11/05/13 17:25  Erin Manning  erintango at gmail.com
>> <x-msg://445/erintango@gmail.com>  wrote:
>> 
>>> ----------empyre- soft-skinned space----------------------
>>> 
>>> Dear Carol-Ann,
>>> 
>>> you write: 
>>>>>> >>>The common thread, however, between the social work I've described
>>>>>> here and
>>> my artistic work (not grounded in large-scale collaborations) is best
>>> summarized in the word  "relation". I noticed that it is also central to
>>> Sense Lab's manifesto. The concept of "relation" here is distinct from the
>>> command-response schema inherent to instrument-based interactivity. It is
>>> diffuse, complex, social. Yes, "instruments" (ie tools to animate, tools to
>>> capture data, programs to adjust representations to the information gleaned
>>> by these tools...) mediate digital "relations". But, for me, understanding
>>> (and "drawing") these relations has meant many a detour into the
>>> non-artistic.  (A small voice within says : "So what.")
>>> 
>>> I am interested in this "so what" - I think it's part of so many of our
>>> experiences. The relational has been absolutely central to our practice, as
>>> you surmise, and it is what moves us beyond a focus on humanism toward an
>>> "ecology of practices." A few nights ago at a SenseLab meeting, we talked
>>> about the difficulty we sometimes have had (and continue to have) in
>>> sustaining our collective energies in the face of the "so what." It's also
>>> something we talked about a few years ago with the Design Studio for Social
>>> Intervention in Boston, particularly around questions of burn out. For them,
>>> as for us, there is an amazing amount of effort that goes into each action,
>>> an effort that is not counterbalanced by money (most of us work at the
>>> limits of precarity). Renate, you speak of "being part of the institution,"
>>> which is something very different in a city like Montreal than it is at
>>> Cornell, where none of our students have adequate funding, where everyone
>>> cobbles lives together made of odd jobs in order to be able to do the
>>> collective activist work which is so central to the wider Montreal
>>> community, and where, like everywhere else, a jobless future looms. In
>>> Boston, the case is even more dire: most of the collaborators with the
>>> Design Studio have lost family members to gun violence (Ken Bailey, the
>>> director, works a lot with the youth from the areas where there is the most
>>> gang violence). They are poor, and tired, and engaged and often burnt out.
>>> Perhaps in a way you refer to, Ann, speaking of the intensities of activism
>>> "on the ground". So the "so what" does come back, again and again, as our
>>> projects take various forms, many of them unrecognizable to other more
>>> result-oriented populations.
>>> 
>>> I would be interested in hearing more about this, and perhaps discussing how
>>> we work across precarity. We are here wanting to think beyond the scenario
>>> outlined by thinkers such as Bifo, who call for the end of activism (the end
>>> of the act) in the face of neo-liberalism's continued privileging of action.
>>> 
>>> Erin
>>> 
>>> 
>>> 
>>> On 2013-05-11, at 9:02 AM, Ana Valdés <agora158 at gmail.com
>>> <x-msg://445/agora158@gmail.com> > wrote:
>>> 
>>>> ----------empyre- soft-skinned space----------------------
>>>> I apologize as well for being so slow as moderator this week! But I came
>>>> back from a trip with a severe legpain and it's only now I feel fit and
>>>> recovered.
>>>> I have a kind of ambivalent feelings to Carol-Ann description of activism
>>>> and collaboration as network. I am an old timer activist, so old to
>>>> remember how we printed flyers and pamphlets in secret printing shops and
>>>> made our own crayons to write antimilitary slogans on the walls. I paid my
>>>> activism well and spent four years in jail for that.
>>>> I am still an activist and has been in Palestine with Cecilia Parsberg, one
>>>> of our guests this week, several times. Our activism shows in images and
>>>> texts and films:
>>>> 
>>>> http://www.ceciliaparsberg.se/jenin
>>>> 
>>>> I am a bit perplex about the notion of activism mediated by technology,
>>>> many people I know call themselves activists because they supported many
>>>> causes in Facebook or give money to Kiva, but I think technology and tools
>>>> should be the mean and not the goal.
>>>> For me personally networking is done in the every day situation where the
>>>> computer the phone and the tools never substitute the contact face to face.
>>>> I am very interested in the topic of discussing wealth and potlach, Marcel
>>>> Mauss and Maurice Godelier wrote interesting essays about the gift as the
>>>> basic level of society.
>>>> Ana
>>>> 
>>>> 
>>>> 
>>>> On Fri, May 10, 2013 at 8:59 PM, Erin Manning <erintango at gmail.com
>>>> <x-msg://445/erintango@gmail.com> > wrote:
>>>>> ----------empyre- soft-skinned space----------------------
>>>>> Dear Carol-Ann,
>>>>> 
>>>>> I'm sorry for being slow in my response - the busy-ness of the week took
>>>>> over! First, I want to go back to your earlier question:
>>>>> 
>>>>> You cited:
>>>>> 
>>>>>>> >> "...I mean this in the sense that Society of Molecules as a concept
>>>>>>> and as a
>>>>> distributed micropolitical event can never contain the “meaning” of its
>>>>> political activity. It is a call, a proposition. Its potential will only
>>>>> be
>>>>> known in its continued becoming. In this sense, there is no “full
>>>>> visibility” of its politics, no “making sense of it” across or beyond
>>>>> existing political constituencies. Society of Molecules is a call for the
>>>>> making apparent of an already­ existent commotion at the micropolitical
>>>>> level. Harnessing this commotion may be another way of embracing the
>>>>> urgency
>>>>> in life you speak about. Urgency in life is a call to create again, from
>>>>> the
>>>>> middle. It is a call to invent techniques for the making perceptible of
>>>>> transversal operations, and to tweak these techniques as they are captured
>>>>> and reified..."
>>>>> 
>>>>> and asked:
>>>>> 
>>>>>>> >> Would you mind taking that idea up again, specifically in relation to
>>>>>>> the
>>>>> notion of scale in collaboration ? :-)
>>>>> 
>>>>> I am really interested in this question of scale because it raises the
>>>>> question of effects. What kinds of effects do our practices create. How
>>>>> can those effects be documented, do they resist documentation, are they
>>>>> felt in ways that exceed the common understanding of "results"? The
>>>>> SenseLab has recently taken up Alanna Thain's concept of the "anarchive"
>>>>> in order to think about ways in which practices resist capture but
>>>>> nevertheless extend themselves, causing ripples that cannot necessarily be
>>>>> reduced to them but are of them. An example of that would be an event that
>>>>> generates a collaborative process that alters they way a community works.
>>>>> The work that the community ends up doing is not "about" the SenseLab, but
>>>>> aspects of how it has come into itself may have been influenced by an
>>>>> event of ours. The anarchive, as we understand it, would be a proposition
>>>>> to create affective resonances that are diagrammatic (not simply mapped)
>>>>> across processes in ways that can regenerate them under new and different
>>>>> conditions.
>>>>> 
>>>>> Now to come back to your more recent message.
>>>>> 
>>>>> You write:
>>>>> 
>>>>>> >
>>>>>> >
>>>>>> > My own partial answer to the above:
>>>>>> >
>>>>>> > a)  Activism forges the use of technology into a product when the
>>>>>> > collaborations extend beyond fragile in-house experimentations.
>>>>> 
>>>>> This is very interesting. The technology becomes a product when the
>>>>> constituents take it on as their own project? Do you think this means that
>>>>> at this stage it can no longer remain fragile?
>>>>> 
>>>>>> > b)  Activism concerns a specific way of using technology, whether
>>>>>> already a
>>>>>> > “product” or not.
>>>>> 
>>>>> Coud we open this to technique, thereby reminding ourselves that the
>>>>> digital is only one way of thinking of how processes create the means for
>>>>> their developments? With the anarchive, for instance, we are tending
>>>>> toward many techniques that are not digital (we are not thinking of the
>>>>> anarchive, for instance, as a digital repository). But that doesn't mean
>>>>> that we are thinking about how to use different technologies to actualize
>>>>> our experiments...
>>>>> 
>>>>>> > c)  In this context, art is at best, a “drawing process” that echoes
>>>>>> other
>>>>>> > disciplines that schematize the dynamics of social interaction and the
>>>>>> > visualisation of opinion. How are we more than a decorative “fly” in a
>>>>>> > phishing expedition..?
>>>>> 
>>>>> I wonder if you could say more about this and the idea of the echo? Do you
>>>>> mean that art is the vector through which a certain consolidation takes
>>>>> place? I would want to resist the notion that art is what makes it
>>>>> possible to instrumentalize a process, but I suspect that's not what
>>>>> you're saying.
>>>>> 
>>>>>> >
>>>>>> > On a more personal note, the DICEN lab at the Conservatoire National
>>>>>> des
>>>>>> > Arts et Metiers is helping us with lebonheurbrutcollectif.org
>>>>>> <http://lebonheurbrutcollectif.org>  <http://lebonheurbrutcollectif.org/>
>>>>>> , a project
>>>>>> > with alternative methods of measuring "wealth".
>>>>>> >
>>>>>> > We’ve just launched the platform so the content is practically
>>>>>> non-existent.
>>>>>> > But fundamental questions have already emerged, specifically in the
>>>>>> > nomenclature of the terms used to help “quantify the utopian”.
>>>>> 
>>>>> This is something the SenseLab has thought a lot about (and which is
>>>>> central to the next phase). We have explored altereconomies directly (in
>>>>> the form of potlatch and the gift, for instance), but have also thought
>>>>> about how collaboration cannot be mapped out in a linear relation between
>>>>> time and money, for instance. We all know that a collaboration depends on
>>>>> the affective tonality the field of relation is capable of creating. It's
>>>>> not only the hours put in, but how the event is capable of generating its
>>>>> own enthusiasm, its own openness. So measure is very difficult. I have
>>>>> found that the process has died the moment the discussion of "how much"
>>>>> comes up (ie, "I did this much but you've only done this much"). How to
>>>>> think of "wealth" in such terms?
>>>>>> >
>>>>>> > The research work has not yet begun, and the existing terms are not
>>>>>> > satisfactory. We want to find a more dialectical and participatory
>>>>>> approach
>>>>>> > to this process.
>>>>>> >
>>>>>> > Also, we need an ethical methodology for gathering testimonials.  This
>>>>>> means
>>>>>> > turning to work done in the 70s, by sociologists but also militants
>>>>>> working
>>>>>> > with people form disadvantaged neighborhoods.
>>>>>> >
>>>>>> > The collaboration of a laboratory will help with “infiltration” to the
>>>>>> > extent that they lend legitimacy to our questioning. Critical theory is
a
>>>>>> > particularly intelligent partner. But they don't care if the platform
>>>>>> works;
>>>>>> > their criterion for success is new ideas for new articles.
>>>>> Sounds very interesting. I look forward to hearing more!
>>>>> Erin
>>>>> 
>>>>>> >
>>>>>> > Yoga teachers are actually going to be the ones to bring grass-roots
>>>>>> force
>>>>>> > to our platform. They will also elevate the discussion because their
>>>>>> > bibliography spans centuries :-)  We just have to convince them that
>>>>>> the
>>>>>> > technology used isn’t at odds with their notion of happiness….
>>>>>> >
>>>>>> > Can the drawn “forms” (visible and invisible) of
>>>>>> lebonheurbrutcollectif.org <http://lebonheurbrutcollectif.org>
>>>>>> <http://lebonheurbrutcollectif.org/>
>>>>>> > entice them to infiltrate our technology with their own micro-meso-
>>>>>> > macro-political convictions?  As an artist, the force of my "intent"
>>>>>> depends
>>>>>> > in part on theirs...
>>>>>> >
>>>>>> >
>>>>>> >
>>>>>> > Carol-Ann
>>>>>> >
>>>>>> >
>>>>>> > le  07/05/13 17:14  Erin Manning  erintango at gmail.com
>>>>>> <x-msg://445/erintango@gmail.com>  wrote:
>>>>>> >
>>>>>>> >> ----------empyre- soft-skinned space----------------------
>>>>>>> >> Carol-Ann,
>>>>>>> >> thanks for another very interesting take on your process. We also, at
>>>>>>> the
>>>>>>> >> SenseLab, had a situation where a member suffered a psychotic break
>>>>>>> and ended
>>>>>>> >> up in the hospital at the end of one of our events ("Housing the
>>>>>>> Body;
>>>>>>> >> Dressing the Environment"). It was a very difficult moment and put a
>>>>>>> lot of
>>>>>>> >> things into perspective for us, especially as we realized how
>>>>>>> unequiped we
>>>>>>> >> were to deal with the therapeutic (here in the Guattarian sense) as
>>>>>>> the
>>>>>>> >> violence the break had generated became more and more personalized.
>>>>>>> I've come
>>>>>>> >> to think, as you do here, that the force of the event includes the
>>>>>>> event-based
>>>>>>> >> hospitality it proposes. How can an event generate the kind of care
>>>>>>> that would
>>>>>>> >> allow such a potential event not to degenerate into a personal
>>>>>>> crisis? How do
>>>>>>> >> you generate and sustain what Guattari calls a "group subject," a
>>>>>>> subject (in
>>>>>>> >> the event) that is capable of composing with the act (is this
>>>>>>> activism?). In
>>>>>>> >> our case, when this happened, the only thing I could ultimately think
>>>>>>> of doing
>>>>>>> >> (after 2 months of experimenting with all the techniques we could
>>>>>>> summon) was
>>>>>>> >> to end the SenseLab, which I did, offering up the suggesting that
>>>>>>> anyone else
>>>>>>> >> could begin it again with new techniques. Within 24 hours Bianca
>>>>>>> Scliar
>>>>>>> >> relaunched the SenseLab and it has been going ever since. One thing I
>>>>>>> realized
>>>>>>> >> during this period was that I couldn't underestimate the
>>>>>>> vulnerability this
>>>>>>> >> kind of work creates. This happened in 2007 and has strengthened our
>>>>>>> resolve
>>>>>>> >> not to be afraid of meeting our own end - we prefer the end of the
>>>>>>> SenseLab to
>>>>>>> >> its institutionalization of staid practices. How do we remain
>>>>>>> necessary (to
>>>>>>> >> ourselves, to others) is one of our most current questions. I mean
>>>>>>> this in the
>>>>>>> >> Nietzschean sense, where necessity fashions the way, the path, and
>>>>>>> not in the
>>>>>>> >> capitalist sense.
>>>>>>> >>
>>>>>>> >> The technical questions of collaboration are mobile within the
>>>>>>> SenseLab. We
>>>>>>> >> have tendencies, and skills, of course, and these affect the
>>>>>>> decisions and
>>>>>>> >> directions we take. But we try to keep the experiment as open as
>>>>>>> possible each
>>>>>>> >> time in order to generate new techniques. For our 2013 Enter
>>>>>>> Bioscleave event,
>>>>>>> >> for instance, Brian and I spent a day last week with Madeline Gins to
>>>>>>> discuss
>>>>>>> >> how to connect our idea of enabling constraints to her procedures.
>>>>>>> This was
>>>>>>> >> very generative (we ended up creating 3 new hybrid procedures which
>>>>>>> Madeline
>>>>>>> >> will include in her next book!). When we descend on Bioscleave in
>>>>>>> October (in
>>>>>>> >> the form of an infestation both into Bioscleave and out into the
>>>>>>> Hamptons) the
>>>>>>> >> idea will be to have generated a set of techniques to co-compose
>>>>>>> across the
>>>>>>> >> necessities of Arakawa and Gins' procedural approach and to have
>>>>>>> expanded on
>>>>>>> >> our process. We will also be working with a local farm, which will
>>>>>>> necessitate
>>>>>>> >> other kinds of collaborative tools (we hope to work with them to make
>>>>>>> the food
>>>>>>> >> for the event), with local nurseries (there is a planting/seeding
>>>>>>> component to
>>>>>>> >> the event), with local performers (there is a mobile bike proposition
>>>>>>> that
>>>>>>> >> includes a performative aspect) etc. Each of these collaborations
>>>>>>> will
>>>>>>> >> generate new techniques and new constraints. Our hope is to become
>>>>>>> flexible
>>>>>>> >> enough, and precise enough, to be able to co-compose across very
>>>>>>> different
>>>>>>> >> cultures in order to best generate local emergent collectivities
>>>>>>> (this could
>>>>>>> >> be a real challenge in Long Island!!). But again, our main goal is
>>>>>>> humble - to
>>>>>>> >> generate sustainable hubs of action in various sites that continue to
>>>>>>> >> collaborate beyond the time of the event. And of course, there will
>>>>>>> always be
>>>>>>> >> a digital component, as I mentioned before. In this case, the
>>>>>>> techniques still
>>>>>>> >> have to be invented as internet streaming is out of the question (no
>>>>>>> internet
>>>>>>> >> connection). So we are thinking of operating in unreal-time. I have
>>>>>>> no doubt
>>>>>>> >> Patrick Lichty will be an innovator in this regard!
>>>>>>> >>
>>>>>>> >> Erin
>>>>>>> >>
>>>>>>> >> On 2013-05-07, at 8:13 AM, carol-ann braun
>>>>>>> <carol-ann.braun at wanadoo.fr <x-msg://445/carol-ann.braun@wanadoo.fr> >
>>>>>>> wrote:
>>>>>>> >>
>>>>>>>> >>> ----------empyre- soft-skinned space----------------------
>>>>>>>> >>>
>>>>>>>>> >>>> ----------empyre- soft-skinned space----------------------
>>>>>>>> >>> Carol, Many thanks
>>>>>>>>> >>>> for writing about your projects with
>>>>>>>> >>> Concert-Urbain.  This is a quick post but
>>>>>>>>> >>>> could you give us a bit more
>>>>>>>> >>> information about how the association works?
>>>>>>>>> >>>> What is your role?  Who
>>>>>>>> >>> innovates the ideas that are supported?  Thanks!
>>>>>>>>> >>>> Renate
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>> Renate, I understand that you are specifically interested in the
>>>>>>>> >>> inner-workings of "collaboration" and the place of artistic
>>>>>>>> identity in a
>>>>>>>> >>> collective enterprise.
>>>>>>>> >>>
>>>>>>>> >>> "Who innovates the ideas"?  For Concert-Urbain, it depends on which
>>>>>>>> idea.
>>>>>>>> >>> There are "artistic/design ideas", "social ideas", "technical
>>>>>>>> ideas",
>>>>>>>> >>> "research ideas". I do the "drawing". I diagram the conceptual
>>>>>>>> paths between
>>>>>>>> >>> screen representations, the shared imaginary space, the
>>>>>>>> media-objects, the
>>>>>>>> >>> social dynamic and the technology. I also create the interface
>>>>>>>> designs,
>>>>>>>> >>> though I am happy to open the "visuals" to students and young
>>>>>>>> professionals.
>>>>>>>> >>> For me, the core that I carry and identify with is a stubborn
>>>>>>>> "intent", in
>>>>>>>> >>> the fluxian sense. (And I write the grants to keep the ball
>>>>>>>> rolling).
>>>>>>>> >>>
>>>>>>>> >>> When the innovation is technological it is carried by our
>>>>>>>> programmers: Denis
>>>>>>>> >>> Chiron (tralalere.net/ <http://tralalere.net/>
>>>>>>>> <http://tralalere.net/> ), Mathieu Desve (dagobert.com
>>>>>>>> <http://dagobert.com>  <http://dagobert.com/> ), Andre Berlemont
>>>>>>>> >>> (oneliferemains.com <http://oneliferemains.com>
>>>>>>>> <http://oneliferemains.com/> ). They experiment technology with
>>>>>>>> Concert-Urbain's
>>>>>>>> >>> projects and transfer the expertise to their jobs; the reverse also
>>>>>>>> occurs
>>>>>>>> >>> and we benefit from programming done elsewhere. (I often ask them
>>>>>>>> what they
>>>>>>>> >>> want to develop and find funding for that too).
>>>>>>>> >>>
>>>>>>>> >>> I'm interested in a term Erin used: "the force of an event". The
>>>>>>>> term
>>>>>>>> >>> "event" is also fluxian and adapted to intermedial work carried by
>>>>>>>> a network
>>>>>>>> >>> that gives life to the event, promotes it, archives it, etc.... It
>>>>>>>> >>> highlights the links between collaboration + interactive art + the
>>>>>>>> Internet
>>>>>>>> >>> + activism.
>>>>>>>> >>>
>>>>>>>> >>> Biographical note: my first collaborative piece was with the poet
>>>>>>>> Blake
>>>>>>>> >>> Leland and the photographer David Bett, at Cornell in the early
>>>>>>>> 1980s. The
>>>>>>>> >>> poem "Gravity Waves" was encased in a grid of photographs on the
>>>>>>>> wall of the
>>>>>>>> >>> Olive Tjaden Gallery and recited in canon (thank you Jim Leblanc,
>>>>>>>> Richard
>>>>>>>> >>> Estelle and Megan.. And the CCPA). This work inspired the
>>>>>>>> "interactive
>>>>>>>> >>> mise-en-scene" of other poems by Blake Leland, done with
>>>>>>>> programmers whom I
>>>>>>>> >>> consider to be co-authors. (There are snippets of all this on
>>>>>>>> >>> inner-media.org <http://inner-media.org>  <http://inner-media.org/>
>>>>>>>> and a funky "video teaser" done later but still online at:
>>>>>>>> >>> http://videochannel.newmediafest.org/select15.html)
>>>>>>>> >>>
>>>>>>>> >>> These collaborative efforts were, for me, innovative...but
>>>>>>>> participatory in
>>>>>>>> >>> a very limited sense.  And they had nothing to do with "activism".
>>>>>>>> >>>
>>>>>>>> >>> For me, "activism" became an issue subsequent to a three-year
>>>>>>>> artist
>>>>>>>> >>> residency at Telecom-ParisTech, with Dr Annie Gentes. No time to go
>>>>>>>> into the
>>>>>>>> >>> details, which included interdisciplinary classes of engineers,
>>>>>>>> continuing
>>>>>>>> >>> education students and musicians (see "City Paradigms" at ISEA
>>>>>>>> 2000; the
>>>>>>>> >>> MILIA 2001 in Cannes).
>>>>>>>> >>>
>>>>>>>> >>> What emerged was a design problem that has fueled much of my work
>>>>>>>> since
>>>>>>>> >>> then: how to cross representation and conversation. Alone, I would
>>>>>>>> never
>>>>>>>> >>> have been capable of "remediating" Fluxus in this way (blasphemy?).
>>>>>>>> With
>>>>>>>> >>> Annie Gentes, we explored using conversation as a search engine;
>>>>>>>> wrote the
>>>>>>>> >>> blogs of fictional characters with links to real web-sites;
>>>>>>>> experimented
>>>>>>>> >>> with musical avatars. We co-authored articles. We shared a common
>>>>>>>> “intent”.
>>>>>>>> >>>
>>>>>>>> >>> These shared intents, open to participation and specifically the
>>>>>>>> >>> participation of "strangers", are not without risk. One in
>>>>>>>> particular left
>>>>>>>> >>> me feeling very guilty. It involved a summer residency in the city
of
>>>>>>>> >>> Troyes, France. With writer Hubert Haddad, we marshaled the
>>>>>>>> creative input
>>>>>>>> >>> of city employees, kids in youth centers, adults in rehab
>>>>>>>> centers…and
>>>>>>>> >>> created an augmented chat space meant to live on once we'd left.
>>>>>>>> Before I
>>>>>>>> >>> knew it, the residency was “over”. We delegated the dynamic we’d
>>>>>>>> launched.
>>>>>>>> >>> Two psychologically fragile participants felt betrayed and wound up
>>>>>>>> in the
>>>>>>>> >>> hospital. This had not been our intent!
>>>>>>>> >>>
>>>>>>>> >>> I decided to confront the “force of an event” differently. Today,
>>>>>>>> drawing
>>>>>>>> >>> includes a transmedial methodology for structuring exchange and
>>>>>>>> prolonging
>>>>>>>> >>> it over time. It also imposes “responsibility” and "sense" across a
>>>>>>>> >>> spectrum: a doodle on the corner of a page, the first “hello” to a
>>>>>>>> stranger,
>>>>>>>> >>> the design of a mobile screen, the accountability of the elected
>>>>>>>> officials
>>>>>>>> >>> who appropriate the work of artists to reinforce their policies…
>>>>>>>> >>>
>>>>>>>> >>> Erin, your experiments with “a society of molecules”, interweaving
>>>>>>>> >>> encounters at the "local level" and exchanges mediated by digital
>>>>>>>> >>> technologies, are central to this larger drawing process. It is
>>>>>>>> clear that
>>>>>>>> >>> your artistic practice could inform that of the Boston Design
>>>>>>>> Studio for
>>>>>>>> >>> Social Intervention too. How architecture (an art!) and urbanism
>>>>>>>> can include
>>>>>>>> >>> such  experimental work is an interesting subject...for a
>>>>>>>> subsequent
>>>>>>>> >>> exchange?
>>>>>>>> >>>
>>>>>>>> >>> Carol-Ann
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>> le  06/05/13 23:57  Erin Manning  erintango at gmail.com
>>>>>>>> <x-msg://445/erintango@gmail.com>  wrote:
>>>>>>>> >>>
>>>>>>>>> >>>> ----------empyre- soft-skinned space----------------------
>>>>>>>>> >>>> Carol-Ann, Tim,
>>>>>>>>> >>>> great to be taking up such interesting issues! I like the focus
>>>>>>>>> Carol-Ann
>>>>>>>>> >>>> places on "tailoring technologies." I love your description about
>>>>>>>>> how the
>>>>>>>>> >>>> work
>>>>>>>>> >>>> is still-born on some occasions, and then suddenly finds an
>>>>>>>>> enthusiastic
>>>>>>>>> >>>> wave
>>>>>>>>> >>>> and then changes, opens to something different, generates a
>>>>>>>>> different
>>>>>>>>> >>>> outlook.
>>>>>>>>> >>>> That's been my experience as well. Tim, you ask about the role of
>>>>>>>>> digital
>>>>>>>>> >>>> technologies in our process. My suspicion is that there is no
>>>>>>>>> collective
>>>>>>>>> >>>> work
>>>>>>>>> >>>> today that doesn't to some degree engage with technology, which
>>>>>>>>> have become
>>>>>>>>> >>>> very instrumental to all our processes. Some activists' work is
>>>>>>>>> directly
>>>>>>>>> >>>> tied
>>>>>>>>> >>>> into technology and others use technology simply as a means. The
>>>>>>>>> SenseLab
>>>>>>>>> >>>> falls somewhere in between. We have over 200 active members on
>>>>>>>>> several
>>>>>>>>> >>>> continents, so we rely on different communications technologies:
an
>>>>>>>>> >>>> internet-based password-protected hub where we use writeboards
>>>>>>>>> and post to
>>>>>>>>> >>>> several simultaneous projects, connect about reading groups and
>>>>>>>>> local
>>>>>>>>> >>>> events,
>>>>>>>>> >>>> discuss workshops etc. This is pretty straight-forward and has
>>>>>>>>> proved very
>>>>>>>>> >>>> useful in the lead-up to events, where we tend to use the
>>>>>>>>> writeboards quite
>>>>>>>>> >>>> intensively to plan activities. We also have group skypes
>>>>>>>>> regularly and use
>>>>>>>>> >>>> them for reading groups (all our Montreal-based events can be
>>>>>>>>> skyped into
>>>>>>>>> >>>> except the movement experimentation - haven't figured that out
>>>>>>>>> yet!). And we
>>>>>>>>> >>>> work with the limits of the web quite intensively in our online
>>>>>>>>> journal
>>>>>>>>> >>>> Inflexions: A Journal for Research-Creation, where we attempt to
>>>>>>>>> explore
>>>>>>>>> >>>> what
>>>>>>>>> >>>> a practice of "web-reading" might be that diverges from a
>>>>>>>>> print-based
>>>>>>>>> >>>> experience, as well as in events such as Into the Midst where we
were
>>>>>>>>> >>>> engaged
>>>>>>>>> >>>> with designing visual and sound platforms.
>>>>>>>>> >>>>
>>>>>>>>> >>>> But there are also real limitations to the digital tools we use.
>>>>>>>>> We find,
>>>>>>>>> >>>> for
>>>>>>>>> >>>> instance, that they are unable to prolong, affectively, the force
>>>>>>>>> of an
>>>>>>>>> >>>> event.
>>>>>>>>> >>>> In and of themselves (without punctual events staged face to 
>>>>>>>>> face) blogs and
>>>>>>>>> >>>> writeboards tend to lose their urgency and people post less and 
>>>>>>>>> less.
>>>>>>>>> >>>> Websites
>>>>>>>>> >>>> work the same way (and I am terrible at updating). So what we do 
>>>>>>>>> is come up
>>>>>>>>> >>>> with techniques for each event that we hope are best able to 
>>>>>>>>> connect in both
>>>>>>>>> >>>> at the digital level and with the intensities that come of the 
>>>>>>>>> localized
>>>>>>>>> >>>> encounter. We find we have to meet face to face at least every 2 
>>>>>>>>> years as a
>>>>>>>>> >>>> large (and always changing) group and that the local meetings 
>>>>>>>>> must be at
>>>>>>>>> >>>> least
>>>>>>>>> >>>> once a month (and it is best that these local meetings happen all 
>>>>>>>>> over the
>>>>>>>>> >>>> world).
>>>>>>>>> >>>>
>>>>>>>>> >>>> The best example of the fashioning of techniques of this kind are 
>>>>>>>>> the ones
>>>>>>>>> >>>> we
>>>>>>>>> >>>> invented for the 2009 distributed event, Society of Molecules, 
>>>>>>>>> which took
>>>>>>>>> >>>> place in 17 cities across 15 countries for one week in May. The 
>>>>>>>>> event was
>>>>>>>>> >>>> based on molecules (3-10 people) creating an event in their local
>>>>>>>>> >>>> constituencies that touched on institutional questions in an 
>>>>>>>>> artful way. The
>>>>>>>>> >>>> local interventions were all different (you can see an account of 
>>>>>>>>> them in
>>>>>>>>> >>>> issue 3 of Inflexions). Our concern was not necessarily to 
>>>>>>>>> connect in at the
>>>>>>>>> >>>> level of the content of the interventions. Our concern was to 
>>>>>>>>> explore how to
>>>>>>>>> >>>> make felt the affective resonances between local interventions 
>>>>>>>>> toward a
>>>>>>>>> >>>> distributed notion of an aesthetico-politics. We also wanted to 
>>>>>>>>> see how it
>>>>>>>>> >>>> might be possible for a distributed event to maintain the 
>>>>>>>>> intensity that a
>>>>>>>>> >>>> face to face event can have. We knew that if we relied on the 
>>>>>>>>> internet
>>>>>>>>> >>>> alone,
>>>>>>>>> >>>> we would only get "reportage," and that the reporting wouldn't be 
>>>>>>>>> able to
>>>>>>>>> >>>> communicate the importance, or the intensity, or the urgency, or 
>>>>>>>>> the unease
>>>>>>>>> >>>> of
>>>>>>>>> >>>> the endeavours. We also knew that, not being in the diverse 
>>>>>>>>> locales, we
>>>>>>>>> >>>> wouldn't necessarily have a strong sense, across the wider 
>>>>>>>>> network, of why
>>>>>>>>> >>>> this or that local intervention was necessary (for instance, we 
>>>>>>>>> had a "lack
>>>>>>>>> >>>> of
>>>>>>>>> >>>> information booth" in Montreal that came out of a frustrated 
>>>>>>>>> attempt to find
>>>>>>>>> >>>> our more about a site that was facing gentrification, a very 
>>>>>>>>> local issue
>>>>>>>>> >>>> that
>>>>>>>>> >>>> might not have resonated with people in another locality). So we 
>>>>>>>>> worked to
>>>>>>>>> >>>> develop techniques that would to some degree affect each 
>>>>>>>>> molecules across
>>>>>>>>> >>>> the
>>>>>>>>> >>>> distributed network without reducing the effect to the actual 
>>>>>>>>> content of the
>>>>>>>>> >>>> interventions. Of course, in the end, we did want to know what 
>>>>>>>>> the other
>>>>>>>>> >>>> people had done, but we wanted to know it in a different way, a 
>>>>>>>>> way that
>>>>>>>>> >>>> could
>>>>>>>>> >>>> affect how we proceeded.
>>>>>>>>> >>>>
>>>>>>>>> >>>> Three techniques were invented:
>>>>>>>>> >>>> 1. Each molecule sent us a movement profile that traced the 
>>>>>>>>> habitual daily
>>>>>>>>> >>>> movements of their host. Over a 5 month period previous to the 
>>>>>>>>> event, an
>>>>>>>>> >>>> emissary was sent from another molecule to locate the host. They 
>>>>>>>>> could
>>>>>>>>> >>>> appear
>>>>>>>>> >>>> anytime, so if the host was away, they would have to make sure 
>>>>>>>>> someone else
>>>>>>>>> >>>> moved in their movements. Once the emissary found the host,
>>>>>>>>> >>>> 2. the whole molecule had to be gathered, and a relational soup 
>>>>>>>>> had to be
>>>>>>>>> >>>> made. The soup could take any form. A recipe had to be provided, 
>>>>>>>>> after the
>>>>>>>>> >>>> fact, to the emissary for him/her to bring back to their own 
>>>>>>>>> molecule.
>>>>>>>>> >>>> 3. The emissary left a seed, brought from his or her home 
>>>>>>>>> molecule, to the
>>>>>>>>> >>>> host molecule, who had to care for it after the May event.
>>>>>>>>> >>>>
>>>>>>>>> >>>> The visits could be virtual, though this option was only taken up 
>>>>>>>>> in 1 case
>>>>>>>>> >>>> (we tried to make sure the hosts and emissaries weren't too far 
>>>>>>>>> apart so
>>>>>>>>> >>>> that
>>>>>>>>> >>>> actual visits would be possible). What we found was that these 
>>>>>>>>> techniques
>>>>>>>>> >>>> stimulated the events on all sides - they brought excitement and 
made
>>>>>>>>> >>>> palpable, across the wider network, the urgency of local 
>>>>>>>>> interventions. They
>>>>>>>>> >>>> also activated online discussions.
>>>>>>>>> >>>>
>>>>>>>>> >>>> For us, techniques have to be invented anew for each event, and 
>>>>>>>>> it is the
>>>>>>>>> >>>> techniques that create the conditions that make the event do its 
>>>>>>>>> work. For
>>>>>>>>> >>>> our
>>>>>>>>> >>>> 2013 event, while we of course continue to use online tools, we 
>>>>>>>>> are working
>>>>>>>>> >>>> to
>>>>>>>>> >>>> seed local groupings in ways that get our preparations going in 
>>>>>>>>> more than
>>>>>>>>> >>>> one
>>>>>>>>> >>>> environment. One key question is how you seed collectivities at a 
>>>>>>>>> distance.
>>>>>>>>> >>>> That way when we meet on skype or online, we are gathering from 
>>>>>>>>> the work of
>>>>>>>>> >>>> the project underway. We find that brings a precision to our work 
>>>>>>>>> and allows
>>>>>>>>> >>>> us to develop collectively.
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>> Erin
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>> On 2013-05-05, at 9:41 AM, Carol-Ann *Braun 
>>>>>>>>> <carolannbraun at free.fr <x-msg://445/carolannbraun@free.fr> > wrote:
>>>>>>>>> >>>>
>>>>>>>>>> >>>>> ----------empyre- soft-skinned space----------------------
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> Erin,
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> Several aspects of your last post elicit a « hurrah » on my 
>>>>>>>>>> part :
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>>  •    things go slow;
>>>>>>>>>> >>>>>  •    valuing need not be tied to value-added or prestige 
>>>>>>>>>> value;
>>>>>>>>>> >>>>>  •    the pragmatics of the useless…;
>>>>>>>>>> >>>>>  •    the dangers of « making the product the goal ».
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> These ideas are linked.  "Slow" is the price of working through 
>>>>>>>>>> and with an
>>>>>>>>>> >>>>> existing social framework. The "valuing criteria" change along 
>>>>>>>>>> the way (and
>>>>>>>>>> >>>>> reframe the notion of usefulness).
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> It’s not just a question of “therapeutic value” replacing  
>>>>>>>>>> “economic
>>>>>>>>>> >>>>> value”.
>>>>>>>>>> >>>>> It’s a question of the scale of the desired impact, over time: 
>>>>>>>>>> working with
>>>>>>>>>> >>>>> a small, local group of citizens; extending participation; 
>>>>>>>>>> sharing and
>>>>>>>>>> >>>>> recognizing what has been “given” by participants; including 
>>>>>>>>>> decision
>>>>>>>>>> >>>>> makers
>>>>>>>>>> >>>>> in the loop; tailoring technologies to the attention spans of 
those
>>>>>>>>>> >>>>> involved; integrating the notion of “accountability” for 
>>>>>>>>>> actions taken…I
>>>>>>>>>> >>>>> fully agree, it is an iterative process and the associated 
>>>>>>>>>> technology may
>>>>>>>>>> >>>>> vary at each step.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> This much said, it is important that the associated digital 
>>>>>>>>>> tools be sturdy
>>>>>>>>>> >>>>> enough to withstand the slow tempo of real change.
>>>>>>>>>> >>>>> Question : Does this turn experimental tools into "products"?
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> I cannot share the numerous steps involved in creating debating 
>>>>>>>>>> and polling
>>>>>>>>>> >>>>> platforms…so here are some collaborative highlights, minus the 
>>>>>>>>>> solitary
>>>>>>>>>> >>>>> moments of discouragement and rejection:
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>>  1.    One of our debating platforms, dring13.org 
>>>>>>>>>> <http://dring13.org>  <http://dring13.org/> , was imagined in 2006-7
>>>>>>>>>> >>>>> by a group of art-student-apprentices at the CFA-Com of 
>>>>>>>>>> Bagnolet, a poor
>>>>>>>>>> >>>>> Paris suburb. Their first prototype was shown at Bagnolet’s 
>>>>>>>>>> “Spring Fest”
>>>>>>>>>> >>>>> and students scouted about with mobile phones to garner 
>>>>>>>>>> testimonials and
>>>>>>>>>> >>>>> send them to an interactive “mosaic” projected in the local 
>>>>>>>>>> library.
>>>>>>>>>> >>>>>  2.    A sturdier version was programmed a year later by an 
>>>>>>>>>> apprentice,
>>>>>>>>>> >>>>> hired by us with grant money from La Region Ile de France. A 
>>>>>>>>>> student
>>>>>>>>>> >>>>> start-up (unflux.com <http://unflux.com>  <http://unflux.com/> 
>>>>>>>>>> ) designed the interface and accompanying posters and
>>>>>>>>>> >>>>> flyers. I scavenged about for content. The site was shown at a 
>>>>>>>>>> rally during
>>>>>>>>>> >>>>> “La Semaine de l’Egalite 2008.” Then..zero…a big “so what”…
>>>>>>>>>> >>>>>  3.    Several months later, Dring13 was “picked up” by an 
>>>>>>>>>> “Espace Public
>>>>>>>>>> >>>>> Numerique” in the city of Ivry, another poor Paris suburb. 
>>>>>>>>>> Workshops were
>>>>>>>>>> >>>>> organized by the social workers for kids, then for senior 
>>>>>>>>>> citizens, who
>>>>>>>>>> >>>>> used
>>>>>>>>>> >>>>> mobile phones to film each other. They uploaded their stories, 
>>>>>>>>>> discussed
>>>>>>>>>> >>>>> them and then cast their “votes” on each others' videos.
>>>>>>>>>> >>>>>  4.    Dring13.org <http://Dring13.org>  <http://Dring13.org 
>>>>>>>>>> <http://dring13.org/> >  then got used by an Antenne Jeunesse in the 
13th
>>>>>>>>>> >>>>> arrondissement of Paris, accompanied by professional actors who 
>>>>>>>>>> used the
>>>>>>>>>> >>>>> web
>>>>>>>>>> >>>>> site on-stage. A year later, another association, called Les 
>>>>>>>>>> Jardins
>>>>>>>>>> >>>>> Numeriques, helped a Junior High School History teacher in the 
14th
>>>>>>>>>> >>>>> arrondissement to organize one of her classes around the 
>>>>>>>>>> website, with kids
>>>>>>>>>> >>>>> who talked about their social origins…and never used the 
>>>>>>>>>> website.
>>>>>>>>>> >>>>>  5.    In the meantime, one of our developers, Mathieu Desve, 
>>>>>>>>>> decided
>>>>>>>>>> >>>>> that he’d like to do a mobile version of our back office and 
>>>>>>>>>> media center.
>>>>>>>>>> >>>>> No budget, just enthusiasm. He took the equivalent of a month 
>>>>>>>>>> full time to
>>>>>>>>>> >>>>> come up with the application. A gift.
>>>>>>>>>> >>>>>  6.    At the same time, the FING (http://fing.org 
>>>>>>>>>> <http://fing.org/>  <http://fing.org/> , thank you Fabienne
>>>>>>>>>> >>>>> Guibe!) invited us to “Les Midi de la Democratie 
>>>>>>>>>> Participative”, power
>>>>>>>>>> >>>>> lunches for functionaries in the Val de Marne (to the 
>>>>>>>>>> south-east of Paris).
>>>>>>>>>> >>>>>  7.    We were asked to set up a web-site for citizens with 
>>>>>>>>>> mental
>>>>>>>>>> >>>>> disabilities, encouraged to talk about how to improve their 
>>>>>>>>>> daily life.
>>>>>>>>>> >>>>>  8.    The disabled public and staff co-designed the site 
>>>>>>>>>> (“Menu not
>>>>>>>>>> >>>>> clear!” “We don’t understand anything!”  “Redo it!”) They 
>>>>>>>>>> tested the
>>>>>>>>>> >>>>> prototypes. The administration validated the site. We are now 
>>>>>>>>>> in the
>>>>>>>>>> >>>>> process
>>>>>>>>>> >>>>> of planning official ateliers and the site will soon be open to 
>>>>>>>>>> the public
>>>>>>>>>> >>>>> at large. The elected officials associated with the project 
>>>>>>>>>> plan on using
>>>>>>>>>> >>>>> the platform to respond.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> To get back to your points:
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> •  our technology evolved from a process including the 
>>>>>>>>>> participation of
>>>>>>>>>> >>>>> teachers, students, artists, businesses, functionaries, social 
>>>>>>>>>> workers,
>>>>>>>>>> >>>>> academics, associations...and ordinary citizens.
>>>>>>>>>> >>>>> •  no one at Concert-Urbain earns a living from this;
>>>>>>>>>> >>>>> •  the prestige factor has been…nothing any self respecting 
>>>>>>>>>> media-artist
>>>>>>>>>> >>>>> would settle for;
>>>>>>>>>> >>>>> •  the usefulness of these endeavors has yet to be proven…
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> This collaborative “art stop-and-start-up” has yielded 
>>>>>>>>>> theoretical riches
>>>>>>>>>> >>>>> however: an understanding of the pragmatic dynamic between 
>>>>>>>>>> people,
>>>>>>>>>> >>>>> organizations and technology…in France.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> One sure thing : the “value” of this understanding can be 
>>>>>>>>>> maintained and
>>>>>>>>>> >>>>> increased only to the extent that it is shared.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> More on “enabling constraints”…soon.  And on the artistic 
>>>>>>>>>> rewards, which
>>>>>>>>>> >>>>> are
>>>>>>>>>> >>>>> surprising.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> Carol-Ann BRAUN
>>>>>>>>>> >>>>> Association Concert-Urbain
>>>>>>>>>> >>>>> http://concerturbain.wordpress.com/
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> PS Thank you for the Boston Design Studio for Social 
>>>>>>>>>> Intervention link,
>>>>>>>>>> >>>>> which I have forwarded to my Paris network.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> le  04/05/13 18:34  Erin Manning  erintango at gmail.com 
>>>>>>>>>> <x-msg://445/erintango@gmail.com>  wrote:
>>>>>>>>>> >>>>>
>>>>>>>>>>> >>>>>> ----------empyre- soft-skinned space----------------------
>>>>>>>>>> >>>>> Thank you
>>>>>>>>>>> >>>>>> Carol-Ann, for your descripton of Concert-Urbain - sounds 
really
>>>>>>>>>>> >>>>>> wonderful.
>>>>>>>>>>> >>>>>> Before we start speaking across projects, let me say a few 
>>>>>>>>>>> words about the
>>>>>>>>>>> >>>>>> SenseLab. For those of you who were part of the discussion 
>>>>>>>>>>> last month,
>>>>>>>>>>> >>>>>> consider this a continuation of the discussion!
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> I started the SenseLab in
>>>>>>>>>>> >>>>>> 2003 with the idea that we might collectively find ways to 
stage
>>>>>>>>>>> >>>>>> encounters
>>>>>>>>>>> >>>>>> that provoked new forms of collaboration. With Brian Massumi, 
>>>>>>>>>>> who joined
>>>>>>>>>>> >>>>>> very
>>>>>>>>>>> >>>>>> early on, and a lively set of collaborators, our first 
>>>>>>>>>>> gesture was to ask
>>>>>>>>>>> >>>>>> ourselves whether there would be interest in meeting in 
>>>>>>>>>>> settings that
>>>>>>>>>>> >>>>>> privileged neither the conference paper nor the art 
>>>>>>>>>>> exhibition. What, we
>>>>>>>>>>> >>>>>> wondered, would it mean to meet across our "techniques" 
>>>>>>>>>>> rather than our
>>>>>>>>>>> >>>>>> finished projects?
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> This spawned the first series of events, Technologies of
>>>>>>>>>>> >>>>>> Lived Abstraction, which lasted until 2012. During this 
>>>>>>>>>>> period, we worked
>>>>>>>>>>> >>>>>> to
>>>>>>>>>>> >>>>>> collectively develop what we call "enabling" constraints to 
>>>>>>>>>>> better be able
>>>>>>>>>>> >>>>>> to
>>>>>>>>>>> >>>>>> come together and create lasting collaborations. We discussed 
>>>>>>>>>>> some of
>>>>>>>>>>> >>>>>> these
>>>>>>>>>>> >>>>>> in
>>>>>>>>>>> >>>>>> last month's empyre list.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> While the events, as I mentioned last month, are
>>>>>>>>>>> >>>>>> very important to what we do, what we are most interested in 
>>>>>>>>>>> is creating
>>>>>>>>>>> >>>>>> modalities of engagement that exceed them. We count on the 
myriad
>>>>>>>>>>> >>>>>> collectives
>>>>>>>>>>> >>>>>> who work across art, activism, philosophy and social change 
>>>>>>>>>>> to connect in
>>>>>>>>>>> >>>>>> with
>>>>>>>>>>> >>>>>> us, and to assist us in coming up with ways of extending the 
>>>>>>>>>>> work we do in
>>>>>>>>>>> >>>>>> our
>>>>>>>>>>> >>>>>> events beyond them. One example of such a group is Boston's 
>>>>>>>>>>> Design Studio
>>>>>>>>>>> >>>>>> for
>>>>>>>>>>> >>>>>> Social Intervention, which continues to be a real inspiration 
>>>>>>>>>>> to us, and
>>>>>>>>>>> >>>>>> with
>>>>>>>>>>> >>>>>> whom we work to develop new techniques.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> We are just beginning a second stage,
>>>>>>>>>>> >>>>>> which we are calling Immediations. This will likely take us 
>>>>>>>>>>> through the
>>>>>>>>>>> >>>>>> next
>>>>>>>>>>> >>>>>> decade, as the work we do takes time (and we are slow!). For 
>>>>>>>>>>> Immediations,
>>>>>>>>>>> >>>>>> the
>>>>>>>>>>> >>>>>> emphasis is on opening out the idea of "emergent 
>>>>>>>>>>> collectivities" to sites
>>>>>>>>>>> >>>>>> that
>>>>>>>>>>> >>>>>> are not our own. How, in relation to other collectives, can 
>>>>>>>>>>> we work to
>>>>>>>>>>> >>>>>> seed
>>>>>>>>>>> >>>>>> collaborations offsite? What kinds of collaborative effects 
>>>>>>>>>>> can a group
>>>>>>>>>>> >>>>>> like
>>>>>>>>>>> >>>>>> the SenseLab seed? People often tell me that they wish they 
>>>>>>>>>>> were in a city
>>>>>>>>>>> >>>>>> like Montreal that is so full of activism and lively in its
>>>>>>>>>>> >>>>>> collaborations.
>>>>>>>>>>> >>>>>> Our hope for this next phase is to connect in with other 
>>>>>>>>>>> groups to see how
>>>>>>>>>>> >>>>>> to
>>>>>>>>>>> >>>>>> network existing collectives to create more of these enclaves 
of
>>>>>>>>>>> >>>>>> collaboration.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> The first event of the new series will take place at Arakawa
>>>>>>>>>>> >>>>>> + Gins' Bioscleave House (NY) and will take the form of an 
>>>>>>>>>>> infestation. As
>>>>>>>>>>> >>>>>> the
>>>>>>>>>>> >>>>>> discussion progresses, I'll be happy to discuss it further. 
>>>>>>>>>>> Until then, a
>>>>>>>>>>> >>>>>> few
>>>>>>>>>>> >>>>>> thoughts:
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> 1. A technique is something that is created in the process 
>>>>>>>>>> itself,
>>>>>>>>>>> >>>>>> and cannot necessarily be subsumed to the next process.
>>>>>>>>>> >>>>> 2. An enabling
>>>>>>>>>>> >>>>>> constraint is a constraint that opens the process to its 
>>>>>>>>>>> potential without
>>>>>>>>>>> >>>>>> leaving it to pure chaos, a kind of structured improvisation.
>>>>>>>>>> >>>>> 3. Collaboration
>>>>>>>>>>> >>>>>> as we understand it is not about creating "the newest new" in 
the
>>>>>>>>>>> >>>>>> capitalist
>>>>>>>>>>> >>>>>> sense. We are interested in forms of valuing that are not 
>>>>>>>>>>> directly tied in
>>>>>>>>>>> >>>>>> to
>>>>>>>>>>> >>>>>> value-added or prestige-value - the forms of value most 
>>>>>>>>>>> prized within
>>>>>>>>>>> >>>>>> capitalism. For this reason, we speak of a "pragmatics of the 
>>>>>>>>>>> useless,"
>>>>>>>>>>> >>>>>> foregrounding a speculative pragmatism that opens the way for 
>>>>>>>>>>> new kinds of
>>>>>>>>>>> >>>>>> approaches to valueing the "useless." We place art and 
>>>>>>>>>>> philosophy squarely
>>>>>>>>>>> >>>>>> within the realm of the "useless" and value them highly.
>>>>>>>>>> >>>>> 4. Our process for
>>>>>>>>>>> >>>>>> each event dictates what forms of technology we will use - we 
are
>>>>>>>>>>> >>>>>> extremely
>>>>>>>>>>> >>>>>> open in this regard. Our tools of course involve a lot of 
online
>>>>>>>>>>> >>>>>> communication
>>>>>>>>>>> >>>>>> (a Basecamp group hub) as we have members from all over the 
world.
>>>>>>>>>> >>>>> 5. While we
>>>>>>>>>>> >>>>>> have received government funding for this second phase of the 
>>>>>>>>>>> SenseLab, we
>>>>>>>>>>> >>>>>> are
>>>>>>>>>>> >>>>>> extremely aware of the dangers of institutionalization and 
>>>>>>>>>>> the ways it
>>>>>>>>>>> >>>>>> makes
>>>>>>>>>>> >>>>>> products its goal. The third phase of the SenseLab will be to 
>>>>>>>>>>> take it out
>>>>>>>>>>> >>>>>> of
>>>>>>>>>>> >>>>>> the institution and ask what kind of site would best 
>>>>>>>>>>> co-compose (in
>>>>>>>>>>> >>>>>> Montreal)
>>>>>>>>>>> >>>>>> with the current culture of artist-run centres and community 
>>>>>>>>>>> activism
>>>>>>>>>>> >>>>>> organizations. We would like to envision the SenseLab's 
>>>>>>>>>>> future as an
>>>>>>>>>>> >>>>>> unaccredited teaching/learning site that feeds into and 
>>>>>>>>>>> composes with
>>>>>>>>>>> >>>>>> alter-economies across art, philosophy and activism.
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> Looking forward to the
>>>>>>>>>>> >>>>>> conversation!
>>>>>>>>>> >>>>> Erin
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> Erin Manning
>>>>>>>>>> >>>>> Research Chair, Philosophy and Relational
>>>>>>>>>>> >>>>>> Art
>>>>>>>>>> >>>>> Concordia
>>>>>>>>>>> >>>>>> University
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> http://www.erinmovement.com <http://www.erinmovement.com/>  
>>>>>>>>>> <http://www.erinmovement.com/> 
>>>>>>>>>> >>>>> http://www.senselab.ca <http://www.senselab.ca/>  
>>>>>>>>>> <http://www.senselab.ca/> 
>>>>>>>>>> >>>>> http://www.infl <http://www.infl/>  <http://www.infl/> 
>>>>>>>>>>> >>>>>> exions.com <http://exions.com>  <http://exions.com/> 
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> On 2013-05-04, at 3:55 AM, Carol-Ann *Braun
>>>>>>>>>>> >>>>>> <carolannbraun at free.fr <x-msg://445/carolannbraun@free.fr> > 
wrote:
>>>>>>>>>> >>>>>
>>>>>>>>>>> >>>>>> ----------empyre- soft-skinned
>>>>>>>>>>> >>>>>> space----------------------
>>>>>>>>>>> >>>>>> Hello to all - nice to participate this first
>>>>>>>>>>> >>>>>> week of May in a discussion on
>>>>>>>>>>> >>>>>> the balancing act between artistic activism
>>>>>>>>>>> >>>>>> and "real time alliances"Šor, as
>>>>>>>>>>> >>>>>> I understand it: the ³wicked problem of
>>>>>>>>>>> >>>>>> designing for social change" ?
>>>>>>>>>>> >>>>>> (Ritter, early 70¹s!)
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> The projects of
>>>>>>>>>>> >>>>>> our association, Concert-Urbain, based in Paris, are at the
>>>>>>>>>>> >>>>>> frontier between
>>>>>>>>>>> >>>>>> design and social work. Our software development,
>>>>>>>>>>> >>>>>> prototypes, ateliers,
>>>>>>>>>>> >>>>>> shows, conferences, have been enabled by the French
>>>>>>>>>>> >>>>>> government.
>>>>>>>>>>> >>>>>> Exceptionally motivated functionaries have helped us with
>>>>>>>>>>> >>>>>> budgets, ateliers,
>>>>>>>>>>> >>>>>> reports from the field. They have been our business
>>>>>>>>>>> >>>>>> angels in the launching
>>>>>>>>>>> >>>>>> of an ³art-start-up².
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> In France, government policies contribute
>>>>>>>>>>> >>>>>> extensively to innovation in the
>>>>>>>>>>> >>>>>> arts. The policies reflect the programs of
>>>>>>>>>>> >>>>>> thousands of citizen's
>>>>>>>>>>> >>>>>> associations, some run by activists in what is called
>>>>>>>>>>> >>>>>> here ³l¹education
>>>>>>>>>>> >>>>>> populaire², ie, schooling for the people by the people
>>>>>>>>>>> >>>>>> (the movement is
>>>>>>>>>>> >>>>>> vast, at the heart of France¹s social fabric).
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> Our
>>>>>>>>>>> >>>>>> design challenge includes interlocutors at every level of 
>>>>>>>>>>> society. This
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> entails a special kind of salesmanship: choosing modest words 
>>>>>>>>>>> to describe>
>>>>>>>>>>> >>>>>> what you want to do as an artist;  adapting technology to 
>>>>>>>>>>> existing
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> educational methodologies; answering questions others have 
>>>>>>>>>>> asked; getting>
>>>>>>>>>>> >>>>>> elected officials to define and then accept the risks digital 
>>>>>>>>>>> technologies
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> might represent for them; saving face when no one answers the 
>>>>>>>>>>> call to
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> participate... The negotiation process is long-term, with 
>>>>>>>>>>> changing
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> interlocutors as time goes by. It is painstakingŠand 
>>>>>>>>>>> sometimes just a
>>>>>>>>>>> >>>>>> royal
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> pain. It also brings esthetic breakthroughs of particular 
>>>>>>>>>>> significance to
>>>>>>>>>>> >>>>>> an
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> artist working with digital technologies.
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> I have several examples of
>>>>>>>>>>> >>>>>> collaborations and collective initiatives that I
>>>>>>>>>>> >>>>>> can share with you. Each
>>>>>>>>>>> >>>>>> raises different issues:
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> 1. A collective fiction, with a chat space at
>>>>>>>>>>> >>>>>> its core: carried by officials
>>>>>>>>>>> >>>>>> in the city of Troyes who wanted to bring
>>>>>>>>>>> >>>>>> city employees and citizens
>>>>>>>>>>> >>>>>> together around a shared ³multimedia² project.
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> 2. Measuring utopia: an art project on the subject of 
>>>>>>>>>>> happiness, with
>>>>>>>>>>> >>>>>> a
>>>>>>>>>>> >>>>>> methodology that involves an alternative approach to 
>>>>>>>>>>> data-base design.
>>>>>>>>>>> >>>>>> Our
>>>>>>>>>>> >>>>>> main partner: the CIRASTI, a federation of associations to 
>>>>>>>>>>> engage kids
>>>>>>>>>>> >>>>>> in
>>>>>>>>>>> >>>>>> scientific projects.
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> 3. An urban renewal initiative by the
>>>>>>>>>>> >>>>>> Conseil general du Val de Marne, that
>>>>>>>>>>> >>>>>> includes an on-line debating platform
>>>>>>>>>>> >>>>>> designed to include those who suffer
>>>>>>>>>>> >>>>>> from intellectual disabilities. It is
>>>>>>>>>>> >>>>>> linked to the "participatory design"
>>>>>>>>>>> >>>>>> of neighborhoods by including
>>>>>>>>>>> >>>>>> inhabitants
>>>>>>>>>>> >>>>>> (see http://www.maitrisedusage.eu/).
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> More on its way
>>>>>>>>>>> >>>>>> throughout the coming week,
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> Carol-Ann BRAUN
>>>>>>>>>>> >>>>>> Association
>>>>>>>>>>> >>>>>> Concert-Urbain
>>>>>>>>>>> >>>>>> http://concerturbain.wordpress.com/
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> le  04/05/13 06:37
>>>>>>>>>>> >>>>>> Renate Ferro  rtf9 at cornell.edu <x-msg://445/rtf9@cornell.edu>  
wrote:
>>>>>>>>>>> >>>>>>
>>>>>>>>>>>> >>>>>>> ----------empyre- soft-skinned
>>>>>>>>>>> >>>>>> space----------------------
>>>>>>>>>>>> >>>>>>> We are most grateful to Ana Valdes for agreeing
>>>>>>>>>>> >>>>>> to guest moderate the
>>>>>>>>>>>> >>>>>>> May discussion with Tim Murray and myself and welcome
>>>>>>>>>>> >>>>>> her back to
>>>>>>>>>>>> >>>>>>> -empyre- as a guest moderator.  We also wish to thank Erin
>>>>>>>>>>> >>>>>> Manning who
>>>>>>>>>>>> >>>>>>> has agreed to make the transition from last month's 
>>>>>>>>>>>> discussion
>>>>>>>>>>> >>>>>> to this
>>>>>>>>>>>> >>>>>>> month highlighting The Sense Lab.  Erin will be making a 
few
>>>>>>>>>>> >>>>>> posts
>>>>>>>>>>>> >>>>>>> specifically about her own experiences with collaboration.  
She
>>>>>>>>>>> >>>>>> will
>>>>>>>>>>>> >>>>>>> be joined by Carol-Ann Braun.  Biographies for Week One 
>>>>>>>>>>>> guests are
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> below.  We look forward to the month with you.
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Tim Murray and
>>>>>>>>>>> >>>>>> Renate Ferro
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Week 1:
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Erin Manning (CA) is a philosopher,
>>>>>>>>>>> >>>>>> visual artist and dancer, and is
>>>>>>>>>>>> >>>>>>> currently a University Research Chair at
>>>>>>>>>>> >>>>>> the Faculty of Fine Arts,
>>>>>>>>>>>> >>>>>>> Concordia University, Montreal. She is also a
>>>>>>>>>>> >>>>>> founder and director of
>>>>>>>>>>>> >>>>>>> The Sense Lab, an interdisciplinary laboratory on
>>>>>>>>>>> >>>>>> research, creation
>>>>>>>>>>>> >>>>>>> and an international network focusing on intersections
>>>>>>>>>>> >>>>>> between
>>>>>>>>>>>> >>>>>>> philosophy and art through the sensing body in motion. Erin
>>>>>>>>>>> >>>>>> Manning
>>>>>>>>>>>> >>>>>>> received her Ph.D. in Political Science at the University 
of
>>>>>>>>>>> >>>>>> Hawaii
>>>>>>>>>>>> >>>>>>> (2001) and has been teaching philosophy, political theory, 
visual
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> studies, cultural studies, and film theory. She is a member 
of the
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> editorial board for the online journal Inflexions and the 
>>>>>>>>>>> author of
>>>>>>>>>>>> >>>>>>> works
>>>>>>>>>>> >>>>>> on movement and ephemerality, for which she frequently
>>>>>>>>>>>> >>>>>>> collaborates with
>>>>>>>>>>> >>>>>> Brian Massumi.
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Carol-Ann BRAUN (US/FR) is a Paris-based American artist
>>>>>>>>>>> >>>>>> who has been
>>>>>>>>>>>> >>>>>>> working with digital technologies since 1985. Her work 
ranges
>>>>>>>>>>> >>>>>> from
>>>>>>>>>>>> >>>>>>> still images to animations to interactive immersive 
>>>>>>>>>>>> text-based
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> environments (inner-media.org <http://inner-media.org>  
>>>>>>>>>>> <http://inner-media.org/> ). Closely affiliated with the Atelier du
>>>>>>>>>>>> >>>>>>> CUBE
>>>>>>>>>>> >>>>>> (lecube.com <http://lecube.com>  <http://lecube.com/>  ), she 
>>>>>>>>>>> has extended her artistic practice beyond
>>>>>>>>>>>> >>>>>>> esthetics to
>>>>>>>>>>> >>>>>> include ³social media². The first prototypes involved
>>>>>>>>>>>> >>>>>>> chat spaces as a
>>>>>>>>>>> >>>>>> search engine.  This led to the design of polling
>>>>>>>>>>>> >>>>>>> technology
>>>>>>>>>>> >>>>>> (http://cie.acm.org/articles/braun-phones-kids/). Last
>>>>>>>>>>>> >>>>>>> month Concert-Urbain
>>>>>>>>>>> >>>>>> launched a poetic polling platform on the subject
>>>>>>>>>>>> >>>>>>> of happiness:
>>>>>>>>>>> >>>>>> lebonheurbrutcollectif.org 
>>>>>>>>>>> <http://lebonheurbrutcollectif.org>  
>>>>>>>>>>> <http://lebonheurbrutcollectif.org/> . The project¹s intention is
>>>>>>>>>>>> >>>>>>> to find contribute
>>>>>>>>>>> >>>>>> to defining new criteria for measuring the
>>>>>>>>>>>> >>>>>>> ineffable nature of
>>>>>>>>>>> >>>>>> happiness...It will be gathering momentum over the
>>>>>>>>>>>> >>>>>>> next three years. The
>>>>>>>>>>> >>>>>> Ministry of Culture and the Region Ile de France
>>>>>>>>>>>> >>>>>>> have taken a particular
>>>>>>>>>>> >>>>>> interest in ³Le Bonheur Brut Collectif, ²
>>>>>>>>>>>> >>>>>>> which is also being followed by a
>>>>>>>>>>> >>>>>> research team at the CNAM
>>>>>>>>>>>> >>>>>>> (Conservatoire National des Arts et Metiers),
>>>>>>>>>>> >>>>>> Paris.
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> --
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Renate Ferro
>>>>>>>>>>>> >>>>>>> Visiting Assistant Professor of
>>>>>>>>>>> >>>>>> Art
>>>>>>>>>>>> >>>>>>> Cornell University
>>>>>>>>>>>> >>>>>>> Department of Art, Tjaden Hall Office #420
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> Ithaca, NY  14853
>>>>>>>>>>>> >>>>>>> Email:   <rtf9 at cornell.edu <x-msg://445/rtf9@cornell.edu> >
>>>>>>>>>>>> >>>>>>> URL:
>>>>>>>>>>> >>>>>> http://www.renateferro.net <http://www.renateferro.net/>  
>>>>>>>>>>> <http://www.renateferro.net/> 
>>>>>>>>>>>> >>>>>>>   http://www.privatesecretspubliclies.net 
>>>>>>>>>>>> <http://www.privatesecretspubliclies.net/>  
>>>>>>>>>>>> <http://www.privatesecretspubliclies.net/> 
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> Lab:  http://www.tinkerfactory.net 
>>>>>>>>>>> <http://www.tinkerfactory.net/>  <http://www.tinkerfactory.net/> 
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>>> >>>>>>> Managing Co-moderator of -empyre-
>>>>>>>>>>> >>>>>> soft skinned space
>>>>>>>>>>>> >>>>>>> http://empyre.library.cornell.edu/
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> http://en.wikipedia.org/wiki/Empyre
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> _______________________________________________
>>>>>>>>>>>> >>>>>>> empyre forum
>>>>>>>>>>>> >>>>>>>
>>>>>>>>>>> >>>>>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>>>>>> >>>>>>> http://www.subtle.net/empyre
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> _______________________________________________
>>>>>>>>>>> >>>>>> empyre forum
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>>>>> >>>>>>
>>>>>>>>>>> >>>>>> http://www.subtle.net/empyre
>>>>>>>>>> >>>>> _______________________________________________
>>>>>>>>>> >>>>> e
>>>>>>>>>>> >>>>>> mpyre forum
>>>>>>>>>> >>>>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>>>> >>>>> http://www.subtle.net/empyre
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>>
>>>>>>>>>> >>>>> _______________________________________________
>>>>>>>>>> >>>>> empyre forum
>>>>>>>>>> >>>>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>>>> >>>>> http://www.subtle.net/empyre
>>>>>>>>> >>>>
>>>>>>>>> >>>> ----------------------------------------------------------
>>>>>>>>> >>>> Erin Manning
>>>>>>>>> >>>> Concordia Research Chair
>>>>>>>>> >>>> Faculty of Fine Arts
>>>>>>>>> >>>> Concordia University
>>>>>>>>> >>>> 1455 de Maisonneuve W.
>>>>>>>>> >>>> Montreal QC H3G1M8
>>>>>>>>> >>>>
>>>>>>>>> >>>> http://www.senselab.ca <http://www.senselab.ca/>  
>>>>>>>>> <http://www.senselab.ca/> 
>>>>>>>>> >>>> http://www.erinmovement.com <http://www.erinmovement.com/>  
>>>>>>>>> <http://www.erinmovement.com/> 
>>>>>>>>> >>>> http://www.inflexions.org <http://www.inflexions.org/>  
>>>>>>>>> <http://www.inflexions.org/> 
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>>
>>>>>>>>> >>>> _______________________________________________
>>>>>>>>> >>>> empyre forum
>>>>>>>>> >>>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>>> >>>> http://www.subtle.net/empyre
>>>>>>>> >>>
>>>>>>>> >>>
>>>>>>>> >>> _______________________________________________
>>>>>>>> >>> empyre forum
>>>>>>>> >>> empyre at lists.cofa.unsw.edu.au 
>>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>>> >>> http://www.subtle.net/empyre
>>>>>>> >>
>>>>>>> >> ----------------------------------------------------------
>>>>>>> >> Erin Manning
>>>>>>> >> Concordia Research Chair
>>>>>>> >> Faculty of Fine Arts
>>>>>>> >> Concordia University
>>>>>>> >> 1455 de Maisonneuve W.
>>>>>>> >> Montreal QC H3G1M8
>>>>>>> >>
>>>>>>> >> http://www.senselab.ca <http://www.senselab.ca/>  
>>>>>>> <http://www.senselab.ca/> 
>>>>>>> >> http://www.erinmovement.com <http://www.erinmovement.com/>  
>>>>>>> <http://www.erinmovement.com/> 
>>>>>>> >> http://www.inflexions.org <http://www.inflexions.org/>  
>>>>>>> <http://www.inflexions.org/> 
>>>>>>> >>
>>>>>>> >>
>>>>>>> >>
>>>>>>> >>
>>>>>>> >>
>>>>>>> >>
>>>>>>> >>
>>>>>>> >> _______________________________________________
>>>>>>> >> empyre forum
>>>>>>> >> empyre at lists.cofa.unsw.edu.au 
>>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>>> >> http://www.subtle.net/empyre
>>>>>> >
>>>>>> >
>>>>>> > _______________________________________________
>>>>>> > empyre forum
>>>>>> > empyre at lists.cofa.unsw.edu.au 
>>>>>> <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>>> > http://www.subtle.net/empyre
>>>>> 
>>>>> ----------------------------------------------------------
>>>>> Erin Manning
>>>>> Concordia Research Chair
>>>>> Faculty of Fine Arts
>>>>> Concordia University
>>>>> 1455 de Maisonneuve W.
>>>>> Montreal QC H3G1M8
>>>>> 
>>>>> http://www.senselab.ca <http://www.senselab.ca/>  
>>>>> <http://www.senselab.ca/> 
>>>>> http://www.erinmovement.com <http://www.erinmovement.com/>  
>>>>> <http://www.erinmovement.com/> 
>>>>> http://www.inflexions.org <http://www.inflexions.org/>  
>>>>> <http://www.inflexions.org/> 
>>>>> 
>>>>> 
>>>>> 
>>>>> 
>>>>> 
>>>>> 
>>>>> 
>>>>> _______________________________________________
>>>>> empyre forum
>>>>> empyre at lists.cofa.unsw.edu.au <x-msg://445/empyre@lists.cofa.unsw.edu.au> 
>>>>> http://www.subtle.net/empyre
>>>> 
>>>> 
>> _______________________________________________
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
> 
> ----------------------------------------------------------
> Erin Manning 
> Concordia Research Chair 
> Faculty of Fine Arts
> Concordia University
> 1455 de Maisonneuve W.
> Montreal QC H3G1M8
> 
> http://www.senselab.ca
> http://www.erinmovement.com
> http://www.inflexions.org
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

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