highlights

Kimmy_test/The Carrier Bag Theory of Non-Fiction.md

@@ -1,5 +1,5 @@
 Title: The Carrier Bag Theory of Non-Fiction
-Subtitle: Presentations and discussions with Janneke Adema & Gary Hall, Axel Andersson, and Lydia Pereira, Moderated by Miriam Rasch.
+Subtitle: Presentations and discussions with Janneke Adema & Gary Hall, Axel Andersson, and Lídia Pereira, Moderated by Miriam Rasch.
 Date:
 Authors:
 

highlights/applegreen.txt

@@ -0,0 +1,12 @@
+Speed
+
+This is something that populists take advantage of readily by short-circuiting social media speediness and academic slowness: while Jordan Peterson is trending on Twitter, surely the countering academic articles are in the making, but these refutations of Peterson’s take on Foucault or Derrida simply come too slowly to have any useful effect.
+
+she says that the history of publishing was always also about speed. Think back to the 16th-18th century chapbooks: street literature that was cheaply produced and meant to spread popular cultures widely.
+
+Being invited to speak at a conference with the word 'urgent' in the title seems odd: since arriving in the Netherlands, Clara in fact has been feeling a general lack of urgency.
+
+We should not give in to the instantism we’re being pushed into by dominant modes of knowledge-producers, but start taking back initiative, and: start to troll.
+
+The collective ‘research through making’ approach mixes speed and visual and textual assignments with performative elements that require quick responses.
+

highlights/blue.txt

@@ -0,0 +1,43 @@
+Social/Community
+
+She works by immersing herself in communities, on the ground in the Philippines, but similarly online as a troll (which you can read more about here)
+
+ potentialities of collectivity, collaboration
+
+Meme culture can be situated and investigated within a history of online visual culture and the senses of community in it:
+
+untenable to do critical cultural programming in the Philippines for under-served communities
+
+So, we should also get communities involved.
+
+this type of humorous grass-roots mobilization is a consistent trend in Brazil.
+
+there seems to be some agency in this mobility of communities,
+
+the answer lies in collaborating and creating a community.
+
+In this way, they create a community that is much broader than their readership.
+
+The zine culture was a close-knit community. One zinester might have included the names of several other zines on the same topic, and where to get them.
+
+to build communities, to bring people together, and to collaborate within and outside of your own network.
+
+The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the 'post-truth' era.
+
+ASAB is participatory: multiple users can contribute to enrich the archive. Its interface tries to go against the general “shopping mall” feel of the contemporary web.
+After the participants tested ASAB, there was a discussion on new functionalities to implement and on the possible direction the project might take. While some of them enjoyed the experimental approach of the tool, some saw the potential of turning it into a service or into a software that can be locally installed.
+
+a collective lexicon of personal viewpoints on ubiquitous technology
+
+Unlike Twitter, Mastodon is comprised of multiple community-owned  "instances", that can define their own rules, modify user interface, etc.
+
+These codes of conducts are meant to communicate to potential visitors on what that community considers (un)acceptable behaviour.
+
+However, the safe spaces provided by a specific instance allow to strategize and to produce a different techno-social imagination.
+
+Zineculture = proto social network
+
+published her manuscript as a zine and distributed it among the visitors who were invited to read along her lecture.
+
+‘there’s no such thing as society’ is derived from it: there is no society, only egoistic actors. This theory solves the free-rider problem through making everyone a parasite.
+

highlights/brown.txt

@@ -0,0 +1,22 @@
+Authoritarianism
+
+Far right activism and the rise of right wing political parties historically go hand in hand, and are supported by a certain ideological cohesion on the right that the left lacks.
+
+Have they contributed to the normalization of the alt-right
+
+Many examples show the hampering of communication:
+
+online troll wars against the rise of authoritarianism in the Philippines for years
+
+the theme of memefascism vs. autonomous zones of resistance in Brazil.
+
+It is clear that the far-right kidnaps forms and thereby subverts democracy,
+
+the narrative of the American election running from alt-right sentiments living on social media, to Trump endorsing these memes, to Hillary falling into the troll trap, to Russian bots intervening in the campaign is as linear as it is inaccurate.
+
+Fascism is a reality, which has to be faced.
+
+In this respect, Cramer remarked that safe space doesn’t necessarily mean progressive or left-leaning, but it can also be a zone that purposefully breeds far-right sentiments and ideas. From this point of view, Mastodon can be seen as “the perfect technology for distributing a troll farm”.
+
+the concept of the parasite is thus opposed to the ideology of autonomy and freedom as it is nowadays promoted by right-wing populists,
+

highlights/coralred.txt

@@ -0,0 +1,18 @@
+Locality
+
+In the West, it is easy to be critical of the medium itself, forgetting about situations in other parts of the world where the benefits of connecting outweigh the downsides of the business.
+
+places
+
+a critical journal written by the visitors is printed on spot, are projects that call for further thinking about how to be in the context?
+
+The context in this case, can be further defined as not a place, but physicality which has locality…In other words: How to expand public/private spheres?
+
+You have to be present physically as well.
+
+Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions.
+
+Motel Spatie is a DIY space founded in 2010 on the principles and with the attitude of squatter culture.
+
+most famous zine spaces, Sticky Institute, which is located in a pedestrian underpass in Melbourne’s city center.
+

highlights/cornflower.txt

@@ -0,0 +1,12 @@
+Post-truth
+
+the notion of 'post-truth' is wrong to begin with. There is in fact a proliferation of truths, there are too many truths! While post-structuralism killed the truth, the right-wing has been allowed to flourish because of it.
+
+To deal with the post-truth, the answer should always be 'more discussion', never more authority.
+
+definitive truths
+
+Her project is an attempt to create a medium where there is discourse, instead of a definite conclusion(s). Perhaps even a platform for changing minds?
+
+This situation also shows us something about the so-called post-truth condition.
+

highlights/gray.txt

@@ -0,0 +1,24 @@
+Parasite
+
+the parasite as a metaphor for media culture
+
+In his book The Parasite (originally published in 1980), philosopher Michel Serres suggests rethinking the relations between humans and parasites:
+
+The interrelation between parasite and body is so deep that separation would be deadly. The negative connotation of the ‘parasite’ thus needs to be turned around and ‘parasites’ need to be thought of as positive forces.
+
+both capitalists and socialists have been called parasites by their respective enemies
+
+someone who sits at a dinner table next to the regular guests and eats the food
+
+While there are several scholarly readings of Bartleby as a parasite, he actually does not feed on anyone or anything.
+
+the formula ‘I would prefer not to’ could be seen as a parasitic meme
+
+Gullestad therefore imagines Humanist Parasite Studies
+
+when are we literally or metaphorically referring to parasites?
+
+to look at the parasitic through the lens of game theory.
+
+a small multiplayer browser game called Parasite Game
+

highlights/green.txt

@@ -0,0 +1,34 @@
+Authorship/Makers
+
+Speed
+
+This is something that populists take advantage of readily by short-circuiting social media speediness and academic slowness: while Jordan Peterson is trending on Twitter, surely the countering academic articles are in the making, but these refutations of Peterson’s take on Foucault or Derrida simply come too slowly to have any useful effect.
+
+she says that the history of publishing was always also about speed. Think back to the 16th-18th century chapbooks: street literature that was cheaply produced and meant to spread popular cultures widely.
+
+Being invited to speak at a conference with the word 'urgent' in the title seems odd: since arriving in the Netherlands, Clara in fact has been feeling a general lack of urgency.
+
+authoritarian authorship, single-voiced narratives, hero perspectives
+
+ Where should we cut them? Who is making decisions? Who moderates the decisions? What’s kept/ what’s preserved in the process?
+
+A funded experiment, an online book fair where online users get to publish, amateurization of critique
+
+There are also questions of authorship and ownership. Crediting meme-makers becomes more widespread on the left flank of the political spectrum.
+
+We need good, strong, and wide networks of digital rights organizations and journalists.
+
+a history of exodus, in which meme communities migrate from one medium to another.
+
+an on-going effort to make a memers’ union, to start protecting the authorial rights of meme-makers
+
+We should not give in to the instantism we’re being pushed into by dominant modes of knowledge-producers, but start taking back initiative, and: start to troll.
+
+The user will be able to organize resources to create narratives and print a pdf out of it.
+
+The collective ‘research through making’ approach mixes speed and visual and textual assignments with performative elements that require quick responses.
+
+Furthermore, not all labour that goes in the project is acknowledged: work that is not code is often rendered invisible.
+
+One of the most interesting spaces to understand where Mastodon is going is the issue tracker9: this is where plenty of users, not necessarily developers, request, discuss, and criticize features.
+

highlights/lilac.txt

@@ -0,0 +1,32 @@
+New forms
+
+but a publisher now also needs to be a reader, a commentator, needs to engage on social media.
+
+modular, non-linear publishing
+
+hybrid publishing processes
+
+culture which is remixed and made modular in digital environments creates new forms of communication.
+
+That’s how she came up with a zine, as a research medium for her research to continue growing.
+
+This shows that there is a need for different modes of publishing and for alternative platforms, but also for new strategies of communication and distribution.
+
+Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication.
+
+Each contributor responds and reflects on the work of another contributor
+
+"As scholars, as thinkers, as makers it is also on us, I think, to jam the archive, and to make the ways that the digital archive thinks about how the world is represented, how history will be read, or how history will be understood."
+
+work towards bridging the gap between authors, readers and themselves
+
+The tool fosters the exploration of new strategies of learning and reading. ASAB is not meant to be understood as a full-fledged “product” or “service”, but more as an experimental instrument to rethink publishing.
+
+The urgency was that of modifying the software stack and to build organizational techniques to create safe spaces for targeted communities.
+
+not necessarily male engineers rooted in computer science but often designers and media people with a particular attention to user interface (Mastodon looks much better than the average free software project) as well as communities typically underrepresented in free software development such as people of color, queer, etc.
+
+an alternative to the internet (particularly, to blogging and social media), often emphasizing the handmade, visual, and material qualities of its medium.
+
+new field of research spanning literary studies, philosophy, sociology, anthropology, film studies, media studies, cultural studies, art history, linguistics, theology, classics, and more.
+

highlights/orange.txt

@@ -0,0 +1,12 @@
+Relationality
+
+publications holding grains of knowledge and experience of various kinds and species, which can be laid out in different ways and directions. How would these forge meaningful connections and complex relations between contents, people, 
+
+Writer Ursula K. Le Guin’s “carrier bag theory of fiction” suggests that the first tool was a bag (rather than a weapon), with contents that allowed us to form narratives through powerful relational qualities
+
+NXS – standing for nexus (a connection or bond) –
+
+Federation allows diverse entities to preserve some internal rules while still being able to communicate with each other. In this way they are able to maintain a certain degree of autonomy. Roscam Abbing pointed out that federation is not new, email and the web being old examples of it which are still in use.
+
+able to communicate with each other thanks to underlying federation protocols such as ActivityPub or OStatus.
+

highlights/pink.txt

@@ -0,0 +1,28 @@
+Activism
+
+wears the badge 'mosquito press' as a badge of honour. To be full of buzz and annoying under dictatorship, never able to be exterminated, is something to be applauded.
+
+The case of #LoSHA (List of Sexual Harassers in Academia) is an example of a kind of graffiti-inspired strategy of publishing that has a longer history in feminism.
+
+activists similarly inscribed a public place with their accusations, for all to see, for the public to deal with.
+
+What are innovative ways to counter these movements on a transnational level?
+
+A lot of activists are hold-overs from the 70s (baby boomers trying to understand what’s happening online).
+
+Don’t stick to fingertip activism but go to conventions and meet-ups.
+
+but that counter-meming can be a powerful means of the Left, too.
+
+Understanding the archive as activism, Padmini Ray Murray's called for decentralized servers hosting DIY archives as a way of providing a counterpoint to massive archiving projects by the likes of, for example, Google. Giving the example of Google Arts & Culture's project "Women in India: Unheard Stories", Ray Murray stressed that all the material Google has received from many Indian cultural institution merely serves as a corpus to train their machines. One way to tell this is through its interface, which is cryptic at best. According to Ray Murray, the relationship between interface and knowledge production is a very important one: the ones in charge of the archive determine how the subject is represented. Ray Murray is therefore critical of the ability of profit-led corporations to truly forward the interests of the represented subjects. Such an archive must be challenged. The taxonomies and categories of the Internet, as a consequence of the Enlightenment project, must be exploded: "As scholars, as thinkers, as makers it is also on us, I think, to jam the archive, and to make the ways that the digital archive thinks about how the world is represented, how history will be read, or how history will be understood."
+
+The workshop is in response to an urgent need to raise awareness to digital discrimination arising from voice technology developments. This is illustrated in a speech_recognition_interview between Amy and, as it turns out, all of us, collectively reading out lines from a script. It doesn’t go well for Amy; she is rejected due to data drawn from not just what she said, but also how she said it. Her fate is sealed by low percentages of the things that matter, such as confident delivery and use of predetermined key words.
+
+We are invited to record ourselves reading from them in groups, either obscuring or emphasizing elements. Most adopt tactics of sabotage and subterfuge, such as broken syllables, speaking continuously, using languages other than English, etcetera. Some aim for clarity; text to speech, exploiting acoustics or carefully pronouncing certain words.
+
+It’s easy to laugh at the mess made of what comes so naturally to us; language. But there are more serious implications, as we see in a screening of a video of academic Halcyon Lawrence, who maintains that homophony is engrained, and confronting accent bias is a crucial part of ensuring access to technology. The hallmark of algorithmic natural language applications is invisibility, relying on a participant’s lack of awareness of the process. However, invisibility is also a result of these applications, in their ability to discriminate between the contents of the bags of words they employ, and so hide differences; discarding what is considered to be indistinct.
+
+How do we protest
+
+1980s/1990s zinemaking as anti-mainstream, countercultural publishing
+

highlights/yellow.txt

@@ -0,0 +1,4 @@
+Positioning
+
+a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are.
+

lidia_test/html/css/main.css

@@ -81,6 +81,7 @@ img{
 }
 
 
+
 #disped{
 	color: #555;
 }

lidia_test/html/md/afterlife-publications.md

@@ -1,5 +1,4 @@
 Title: The Afterlife of Publications
-Subtitle: Fake subtitle
 Date: 2015-12-02 10:29
 Authors: <span id='hide'>Minke Vos</span>
 
@@ -12,48 +11,52 @@ As publishing professionals, we are always looking for new ways to 'keep a publi
 ### Readers & publishers
 *Cristina Garriga presents Readers & Publishers, an online directory of independent publishers. ( <http://readersandpublishers.org> )*
 
-Cristina Garriga explains that there is a need among artists and writers to know how publishers work and how to reach each other. Readers and publishers, an online directory for independent publishers tries to close this gap by giving a potential author <span class='highlight-lilac'>a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are.</span> <span class='hightlight-cornflower'>Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication</span>.
+Cristina Garriga explains that there is a need among artists and writers to know how publishers work and how to reach each other. Readers and publishers, an online directory for independent publishers tries to close this gap by giving a potential author <span class='highlight-yellow'>a clear and concise idea of what the publisher stands for, what kind of books they publish and what their submission policies are.</span> <span class='hightlight-lilac'>Connecting the right authors and audience to the right publisher can ensure the sustainability of the publication.</span>
 
-![Notes:Miriam](../images/notes-Miriam-1.png "Notes:Miriam")
+![Notes:Miriam](../../images/notes-afterlife-Miriam-Rasch-1_B.png "Notes:Miriam")
 
 ### NXS
 *NXS is an Amsterdam based research collective that explores 'the self' in the age of digital technology through publications, exhibitions, art works, public events, and a working lab. <http://nxs.world/>*
 
-For Karolien Buurman, <span class='highlight-blue'>the answer lies in collaborating and creating a community</span>. She works for NXS, a collaborative research project that explores "the self" in the age of digital technology. NXS publishes twice a year. <span class='highlight-green'>Each contributor responds and reflects on the work of another contributor</span>. In addition to the publications, NXS hosts lectures, performances and exhibitions around the theme of the publication. <span class='highlight-blue'>In this way, they create a community that is much broader than their readership</span>.
+For Karolien Buurman, <span class='highlight-blue'>the answer lies in collaborating and creating a community.</span> She works for NXS, a collaborative research project that explores "the self" in the age of digital technology. NXS publishes twice a year. <span class='highlight-lilac'>Each contributor responds and reflects on the work of another contributor</span>. In addition to the publications, NXS hosts lectures, performances and exhibitions around the theme of the publication. <span class='highlight-blue'>In this way, they create a community that is much broader than their readership.</span>
 
-![Notes:Kimmy](../images/notes-Kimmy-1.png "Notes:Kimmy")
 
 ### Parasiting Zine Culture by Marc van Elburg
 *Marc van Elburg (NL) is an artist and zinester. He was the founder of experimental DIY noise theatre and zine library de Hondenkoekjesfabriek, and a curator for Planetart. Currently he is looking after the Zinedepo zinelibrary in Motel Spatie in Presikhaaf.*
 
-Mark van Elburg talked about the Zinedepo zinelibrary in Motel Spatie in Arnhem. He explained that the zine culture, particularly that of the 1990s, acted outside commercial consumerism culture, and therefore outside of convention. <span class='hightlight-blue'>The zine culture was a close-knit community. One zinester might have included the names of several other zines on the same topic, and where to get them</span>. Van Elburg referred to this as DIY culture.
 
-![Notes:Miriam](../images/notes-Miriam-2.png "Notes:Miriam")
+![Notes:Kimmy](../../images/notes-afterlife-Kimmy-Spreeuwenberg-1_B.png "Notes:Kimmy")
+
+Mark van Elburg talked about the Zinedepo zinelibrary in Motel Spatie in Arnhem. He explained that the zine culture, particularly that of the 1990s, acted outside commercial consumerism culture, and therefore outside of convention. <span class='hightlight-blue'>The zine culture was a close-knit community. One zinester might have included the names of several other zines on the same topic, and where to get them.</span> Van Elburg referred to this as DIY culture.
+
+![Notes:Miriam](../../images/notes-afterlife-Miriam-Rasch-2_B.png "Notes:Miriam")
 
 ### A Much Needed Location for a Community of Readers by Krista Jantowski
 *Krista Jantowski (NL) is co-owner of WALTER; a (for lack of a better word) bookshop in Arnhem (NL). Her academic background is in film studies, her work back-ground in organizing and curating, her interest lies with reading as a social practice.*
 
-<span class='hightlight-pink'>Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions</span>.
+<span class='hightlight-coralred'>Krista Jantowski of Walter Books in Arnhem explained the importance of the bookshop not just as a place of commerce or a temporary storage room for books, but as the starting point of the circulation of knowledge. Bookstores are places where communities can come together and share knowledge and opinions.</span>
 
-![Notes:Miriam](../images/notes-Miriam-3.png "Notes:Miriam")
+![Notes:Miriam](../../images/notes-afterlife-Miriam-Rasch-3_B.png "Notes:Miriam")
 
 ### ~~From Snowballs to Tumble-Weeds: The Spectrum of Publication Afterlives by Alice Twemlow~~ Padmini Ray Murray
 
-![Tweet:INC](../images/tweet-Afterlife-INC1.png "Tweet:INC")
+![Tweet:INC](../../images/tweet-Afterlife-INC1.png "Tweet:INC")
+<p class="caption">Tweet by the Institute of Network Cultures.</p>
 
-![Notes:Kimmy](../images/notes-Kimmy-2.png "Notes:Kimmy")
+![Notes:Kimmy](../../images/notes-afterlife-Kimmy-Spreeuwenberg-2_B.png "Notes:Kimmy")
 
 #### Displaced Editor's Note
-Another important aspect of archival work, besides the ones previously mentioned, was brought forth by Padmini Ray Murray. Understanding the archive as activism, Padmini Ray Murray's calls for decentralized servers hosting DIY archives as a way of providing a counterpoint to massive archiving projects by the likes of, for example, Google. Giving the example of Google Arts & Culture's project "Women in India: Unheard Stories", Ray Murray highlights that all the material Google has received from many Indian cultural institutions is serving only as a corpus to train their machines, as the interface through which it is presented is cryptic at best. According to Ray Murray this relationship between interface and knowledge production is a very important one: whoever archives determines how the subject is represented. Ray Murray is therefore critical of the ability of profit-led corporations to truly forward the interests of the represented subjects. Thus, such an archive must be challenged. The taxonomies and categories of the Internet, as a consequence of the Enlightenment project, must be exploded: "As scholars, as thinkers, as makers it is also on us, I think, to jam the archive, and to make the ways that the digital archive thinks about how the world is represented, how history will be read, or how history will be understood."
+Another important aspect of archival work, besides the ones previously mentioned, was brought forth by Padmini Ray Murray. <span class='hightlight-pink'>Understanding the archive as activism, Padmini Ray Murray's calls for decentralized servers hosting DIY archives as a way of providing a counterpoint to massive archiving projects by the likes of, for example, Google.<span> Giving the example of Google Arts & Culture's project "Women in India: Unheard Stories", Ray Murray highlights that all the material Google has received from many Indian cultural institutions is serving only as a corpus to train their machines - the interface through which it is presented is cryptic at best. According to Ray Murray this relationship between interface and knowledge production is a very important one: the ones in charge of the archive determine how the subject is represented. Ray Murray is therefore critical of the ability of profit-led corporations to truly forward the interests of the represented subjects. Such an archive must be challenged. The taxonomies and categories of the Internet, as a consequence of the Enlightenment project, must be exploded: <span class='hightlight-lilac'>"As scholars, as thinkers, as makers it is also on us, I think, to jam the archive, and to make the ways that the digital archive thinks about how the world is represented, how history will be read, or how history will be understood."<span>
 
-![Notes:Miriam](../images/notes-Miriam-4.png "Notes:Miriam")
+![Notes:Miriam](../../images/notes-afterlife-Miriam-Rasch-4_NB.jpg "Notes:Miriam")
 
-![Tweet:Nikola](../images/tweet-Afterlife-Nikola.png "Tweet:Nikola")
+![Tweet:Nikola](../../images/tweet-Afterlife-Nikola.png "Tweet:Nikola")
+<p class="caption">Tweet by Mikrotext.</p>
 
-![Notes:Kimmy](../images/notes-Kimmy-3.png "Notes:Kimmy")
+![Notes:Kimmy](../../images/notes-afterlife-Kimmy-Spreeuwenberg-3_B.png "Notes:Kimmy")
 
 
 ## Conclusion
-Each in their own way, the speakers highlighted that it is important for publishers to actively <span class='hightlight-lilac'>work towards bridging the gap between authors, readers and themselves</span>, <span class='hightlight-blue'>to build communities, to bring people together, and to collaborate within and outside of your own network</span>. It is high time to stop looking at the book simply as a product. <span class='hightlight-blue'>The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the ‘post-truth’ era.</span>
+Each in their own way, the speakers highlighted that it is important for publishers to actively <span class='hightlight-lilac'>work towards bridging the gap between authors, readers and themselves</span>, <span class='hightlight-blue'>to build communities, to bring people together, and to collaborate within and outside of your own network.</span> It is high time to stop looking at the book simply as a product. <span class='hightlight-blue'>The speakers of The Afterlife of Publications have shown that the book, or any other publication, can serve as a catalyst for connection in the 'post-truth' era.</span>
 
-![Notes:Miriam](../images/notes-Miriam-5.png "Notes:Miriam")
+![Notes:Miriam](../../images/notes-afterlife-Miriam-Rasch-5_B.png "Notes:Miriam")

lidia_test/html/md/federated-publishing.md

@@ -1,37 +1,38 @@
-Title: Federated Publishing: Roel Roscam Abbing in conversation with Florian Cramer (Report)
+Title: Federated Publishing
+Subtitle: Roel Roscam Abbing in conversation with Florian Cramer (Report)
 Date: 2015-12-02 10:29
-Authors: Silvio Lorusso
+Authors: <span id='hide'>Silvio Lorusso</span>
 
-
+Remix of a [blogpost](https://networkcultures.org/makingpublic/2019/05/20/federated-publishing/) by Silvio Lorusso
-## Introduction
 
 *Florian Cramer and Roel Roscam Abbing talk about federated social networks, how they work, what they do, and what chances and pitfalls they present for the publishing domain.*
 
 A public conversation on federated publishing took place during the lunch break of the final day of the Urgent Publishing<sup>[1](#footnote-j1)</sup> conference. Florian Cramer, reader in 21st Century Visual Culture/Autonomous Practices at Willem de Kooning Academy, asked Roel Roscam Abbing a few questions on federated networks, their origin, and their techno-social implementation.
 
-![Tweet:Clusterduck](../images/federated-publishing_clusterduck-tweet.png "Tweet:Clusterduck")
+![Tweet:Clusterduck](../../images/federated-publishing_clusterduck-tweet.png "Tweet:Clusterduck")
+<p class="caption">Tweet by Clusterduck.</p>
 
 Roel Roscam Abbing is a researcher and artist who works on networks, infrastructures and the politics that inform them. He’s a founding member of varia<sup>[2](#footnote-j2)</sup>, a space for developing collective approaches to everyday technology located in Charlois (Rotterdam). Varia hosts and employs a series of federated networks, such as one based on XMPP<sup>[3](#footnote-j3)</sup>, an open standard for messaging.
 
-Cramer and Roscam Abbing started by explaining what is a federated network and why it matters nowadays. <span class='hightlight-yellow'>Federation allows diverse entities to preserve some internal rules while still being able to communicate with each other. In this way they are able to maintain a certain degree of autonomy. Roscam Abbing pointed out that federation is not new, email and the web being old examples of it which are still in use.</span> However, in a landscape characterized by an increasingly vicious centralization and by users’ growing awareness of their needs and the limitations of generalist platforms, federation acquires new meaning and relevance.
+Cramer and Roscam Abbing started by explaining what is a federated network and why it matters nowadays. <span class='highlight-orange'>Federation allows diverse entities to preserve some internal rules while still being able to communicate with each other. In this way they are able to maintain a certain degree of autonomy. Roscam Abbing pointed out that federation is not new, email and the web being old examples of it which are still in use.</span> However, in a landscape characterized by an increasingly vicious centralization and by users’ growing awareness of their needs and the limitations of generalist platforms, federation acquires new meaning and relevance.
 
-The subject of the conversation then became Mastodon<sup>[4](#footnote-j4)</sup>, a Twitter-like federated social medium. <span class='hightlight-blue'>Unlike Twitter, Mastodon is comprised of multiple community-owned  “instances”, that can define their own rules, modify user interface, etc.</span> Mastodon itself is part of a bigger network called the Fediverse<sup>[5](#footnote-j5)</sup>, which includes different applications (such as the older GNU Social<sup>[6](#footnote-j6)</sup> or the recent PeerTube<sup>[7](#footnote-j7)</sup>) that are <span class='hightlight-yellow'>able to communicate with each other thanks to underlying federation protocols such as ActivityPub or OStatus.</span>
+The subject of the conversation then became Mastodon<sup>[4](#footnote-j4)</sup>, a Twitter-like federated social medium. <span class='highlight-blue'>Unlike Twitter, Mastodon is comprised of multiple community-owned  "instances", that can define their own rules, modify user interface, etc.</span> Mastodon itself is part of a bigger network called the Fediverse<sup>[5](#footnote-j5)</sup>, which includes different applications (such as the older GNU Social<sup>[6](#footnote-j6)</sup> or the recent PeerTube<sup>[7](#footnote-j7)</sup>) that are <span class='highlight-orange'>able to communicate with each other thanks to underlying federation protocols such as ActivityPub or OStatus.</span>
 
-Roscam Abbing is one of the admins of a Mastodon instance called post.lurk.org and dedicated to media, free software and the politics of technology. Post.lurk.org currently hosts 129 users and is invite-only (you can get in touch with the admins on <https://talk.lurk.org/>). Roscam Abbing explained Mastodon stands in a too long tradition of projects that reimplement the features of proprietary applications but in free and open source software. Mastodon initially emerged as a fork of GNU Social and was driven by a dissatisfaction towards social media like Twitter. Particularly in the wake of silencing techniques and the harassment campaigns that went through the hashtag #gamergate and the election of Trump. <span class='hightlight-lilac'>The urgency was that of modifying the software stack and to build organizational techniques to create safe spaces for targeted communities.</span>
+Roscam Abbing is one of the admins of a Mastodon instance called post.lurk.org and dedicated to media, free software and the politics of technology. Post.lurk.org currently hosts 129 users and is invite-only (you can get in touch with the admins on <https://talk.lurk.org/>). Roscam Abbing explained Mastodon stands in a too long tradition of projects that reimplement the features of proprietary applications but in free and open source software. Mastodon initially emerged as a fork of GNU Social and was driven by a dissatisfaction towards social media like Twitter. Particularly in the wake of silencing techniques and the harassment campaigns that went through the hashtag #gamergate and the election of Trump. <span class='highlight-lilac'>The urgency was that of modifying the software stack and to build organizational techniques to create safe spaces for targeted communities.</span>
 
-In order to join Mastodon, a user needs to pick up an instance, which might be confusing at first given the sheer diversity among the existing ones. <span class='hightlight-yellow'>Picking one instances doesn’t mean you can’t communicate with other ones, however.</span> They do however form their own distinct communities with rules and guidelines. Roscam Abbing highlighted the presence of code of conducts on many of these instances as well as shared customs, such as stating one’s pronouns in their bio. <span class='hightlight-blue'>These codes of conducts are meant to communicate to potential visitors on what that community considers (un)acceptable behaviour.</span>
+In order to join Mastodon, a user needs to pick up an instance, which might be confusing at first given the sheer diversity among the existing ones. Picking one instances doesn’t mean you can’t communicate with other ones, however. They do however form their own distinct communities with rules and guidelines. Roscam Abbing highlighted the presence of code of conducts on many of these instances as well as shared customs, such as stating one’s pronouns in their bio. <span class='highlight-blue'>These codes of conducts are meant to communicate to potential visitors on what that community considers (un)acceptable behaviour.</span>
 
 In this respect, Cramer remarked that safe space doesn’t necessarily mean progressive or left-leaning, but it can also be a zone that purposefully breeds far-right sentiments and ideas. From this point of view, Mastodon can be seen as “the perfect technology for distributing a troll farm”. In fact federated social media share a common ground with the interests of a subset of 4chan users, in particularly the board /g/ where free software and alternatives to commercial media are often discussed and promoted. Similarly interest in these networks can also be linked to cyberlibertarianism.
 
-There are several ways to preserve a sense of safety within an instance. For example, other servers can be silenced (users will still be able to get their content in their personal timeline) or fully blocked, in a process called 'defederating'. <span class='hightlight-yellow'>Roscam Abbing pointed out that defederating caused quite a stir among inhabitants of the fediverse, as it goes against the principle of openness and unlimited interconnection that are the hallmark of web and free software ideology.</span> One way to motivate the implementation of silencing and blocking at the instance level can be summarized as "we don’t have to read your bullshit".
+There are several ways to preserve a sense of safety within an instance. For example, other servers can be silenced (users will still be able to get their content in their personal timeline) or fully blocked, in a process called 'defederating'. Roscam Abbing pointed out that defederating caused quite a stir among inhabitants of the fediverse, as it goes against the principle of openness and unlimited interconnection that are the hallmark of web and free software ideology. One way to motivate the implementation of silencing and blocking at the instance level can be summarized as "we don’t have to read your bullshit".
 
-"If silencing and blocking is possible, isn’t there the risk of creating the equivalent of an organic supermarket, of elitism, of leaving the territory unguarded?", asked Florian Cramer, suggesting that it is important to "stay with the trouble". Roel’s response was that federated networks and proprietary platforms are not mutually exclusive. <span class='hightlight-blue'>However, the safe spaces provided by a specific instance allow to strategize and to produce a different techno-social imagination.</span>
+"If silencing and blocking is possible, isn’t there the risk of creating the equivalent of an organic supermarket, of elitism, of leaving the territory unguarded?", asked Florian Cramer, suggesting that it is important to "stay with the trouble". Roel’s response was that federated networks and proprietary platforms are not mutually exclusive. <span class='highlight-blue'>However, the safe spaces provided by a specific instance allow to strategize and to produce a different techno-social imagination.</span>
 
 The issue of privacy was also raised by Cramer, who spoke of synchronization while being reminded of bbs<sup>[8](#footnote-j8)</sup>. Roscam Abbing clarified that privacy on Mastodon shouldn’t be understood in the classical sense of a private communication channel as it doesn’t implement any end-to-end encryption. This is because Mastodon has been conceptualized as a publishing platform where most messages are publicly readable. This makes Cambridge Analyitica-style mining still possible. It also means that direct messages can be potentially read by admins, just like on the major commercial platforms.
 
-Cramer and Abbing discussed the "composition" of the people involved in a project like Mastodon: <span class='hightlight-lilac'>not necessarily male engineers rooted in computer science but often designers and media people with a particular attention to user interface (Mastodon looks much better than the average free software project) as well as communities typically underrepresented in free software development such as people of color, queer, etc.</span>
+Cramer and Abbing discussed the "composition" of the people involved in a project like Mastodon: <span class='highlight-lilac'>not necessarily male engineers rooted in computer science but often designers and media people with a particular attention to user interface (Mastodon looks much better than the average free software project) as well as communities typically underrepresented in free software development such as people of color, queer, etc.</span>
 
-The questions from the audience revolved around the notion of governance. Roscam Abbing responded that the development of the project is currently based on the "benevolent dictator" model, as the creator of Mastodon has the power to take final decisions (in fact there have been Mastodon fork-tryouts, where the main focus has been a different form of governance). <span class='hightlight-green'>Furthermore, not all labour that goes in the project is acknowledged: work that is not code is often rendered invisible.</span> This has lead to disenfranchisement from queer and POC communities that in the early stages contributed a lot to the platform. <span class='hightlight-green'>One of the most interesting spaces to understand where Mastodon is going is the issue tracker<sup>[9](#footnote-j9)</sup>: this is where plenty of users, not necessarily developers, request, discuss, and criticize features.</span>
+The questions from the audience revolved around the notion of governance. Roscam Abbing responded that the development of the project is currently based on the "benevolent dictator" model, as the creator of Mastodon has the power to take final decisions (in fact there have been Mastodon fork-tryouts, where the main focus has been a different form of governance). <span class='highlight-green'>Furthermore, not all labour that goes in the project is acknowledged: work that is not code is often rendered invisible.</span> This has lead to disenfranchisement from queer and POC communities that in the early stages contributed a lot to the platform. <span class='highlight-green'>One of the most interesting spaces to understand where Mastodon is going is the issue tracker<sup>[9](#footnote-j9)</sup>: this is where plenty of users, not necessarily developers, request, discuss, and criticize features.</span>
 
 
 <hr class='fn'>

lidia_test/html/md/preconference-night.md

@@ -3,17 +3,15 @@ Date: 2015-12-02 10:29
 
 Remix of report by Inte Gloerich
 
-## Introduction
-
 *Inventing new ways of publishing between fast populism and slow academia. How to counter misinformation and stimulate open public discussions through a speedy publishing process, high quality content and spot-on positioning?*
 
-![Tweet:INC](../images/preconference_inc-tweet.png "Tweet:INC")
+![Tweet:INC](../../images/preconference_inc-tweet.png "Tweet:INC")
 
-This panel served as an excellent kick-off to the conference: excited participants, urgent discussions, and a good overview of the topics to come. Moderator Florian Cramer framed the debate with a few opening words about what this ‘post-truth’ moment is that we find ourselves in.
+This panel served as an excellent kick-off to the conference: excited participants, urgent discussions, and a good overview of the topics to come. Moderator Florian Cramer framed the debate with a few opening words about what this 'post-truth' moment is that we find ourselves in.
 
 ![Notes:Kimmy](../images/notes-part-Kimmy-1.png "Notes:Kimmy")
 
-If traditional media are to be believed, social media are to blame for the current state of public debate. The refrain goes: people continue to drive circles in their own algorithmic filter bubbles, only seeing material that confirms their pre-existing worldview and subsequently polarisation occurs. It seems to be a problem of information, truth, and authorship, an editorial problem, but in reality just as important are what we publish, how we publish, and which technologies we use.
+If traditional media are to be believed, social media are to blame for the current state of public debate. The refrain goes: people continue to drive circles in their own algorithmic filter bubbles, only seeing material that confirms their pre-existing worldview and subsequently polarization occurs. It seems to be a problem of information, truth, and authorship, an editorial problem, but in reality just as important are what we publish, how we publish, and which technologies we use.
 
 Generally speaking, the more thorough a publication is, the more slow it is. <span class='highlight-applegreen'>This is something that populists take advantage of readily by short-circuiting social media speediness and academic slowness: while Jordan Peterson is trending on Twitter, surely the countering academic articles are in the making, but these refutations of Peterson’s take on Foucault or Derrida simply come too slowly to have any useful effect.</span>
 
@@ -27,7 +25,7 @@ In this session we hear from practitioners that go beyond disciplinary boundarie
 
 ### Morten Paul
 
-*Morten Paul (DE) is editor at the humanities publish-ing house August Verlag Berlin. Studied German Studies, Philosophy and Cultural Studies at the University of Konstanz and Goldsmiths College, London.*
+*Morten Paul (DE) is editor at the humanities publishing house August Verlag Berlin. Studied German Studies, Philosophy and Cultural Studies at the University of Konstanz and Goldsmiths College, London.*
 
 Morten Paul is editor at the humanities publishing house August Verlag Berlin. He starts his talk with the statement that <span class='highlight-cornflower'>the notion of 'post-truth' is wrong to begin with. There is in fact a proliferation of truths, there are too many truths! While post-structuralism killed the truth, the right-wing has been allowed to flourish because of it.</span> The problem with alternative facts is not so much the alternative, but the positivist understanding of 'facts'. This is too reminiscent of conspiracy theories: facts are truths that are out, but covered up. Alternative facts have been around for as long as we can remember.
 
@@ -73,7 +71,7 @@ Clara Balaguer explains her situation as being 'in exile by academia'. Originall
 
 ![Notes:Miriam](../images/notes-part-Miriam-Rasch-7.png "Notes:Miriam")
 
-Clara co-founded Hardworking Goodlooking, an underground publisher, that <span class='highlight-pink'>wears the badge ‘mosquito press’ as a badge of honour. To be full of buzz and annoying under dictatorship, never able to be exterminated, is something to be applauded.</span> Hardworking Goodlooking uses pirating strategies to distribute inaccessible academic work within the Philippines. This is not about big numbers: getting 25 copies into the right hands is in this case enough to have the right impact.
+Clara co-founded Hardworking Goodlooking, an underground publisher, that <span class='highlight-pink'>wears the badge 'mosquito press' as a badge of honour. To be full of buzz and annoying under dictatorship, never able to be exterminated, is something to be applauded.</span> Hardworking Goodlooking uses pirating strategies to distribute inaccessible academic work within the Philippines. This is not about big numbers: getting 25 copies into the right hands is in this case enough to have the right impact.
 
 ### Padmini Ray Murray