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00_contributions/FINAL/layout/00_header.tex
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\usepackage[hyphens]{url}
\usepackage{ltablex}
\usepackage{vcell}
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\usepackage{float}
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\usepackage{etoolbox}
\usepackage[vskip=12pt,indentfirst=false, leftmargin=2em, rightmargin=2em]{quoting}
\usepackage{multicol}
% CONFIGURE PACKAGES
@ -72,7 +72,7 @@
\newcommand{\chaptersignthree}{‡}
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% FONT-FACES
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% SUBSUBSECTION
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\titlespacing{\subsubsection}{24pt}{12pt}{8pt}{}
% PARAGRAPHS
\setlength{\parindent}{2em}

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00_contributions/FINAL/layout/00_preface.tex
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\section{\nohyphens{Preface: Everyday\\Technology Press}}
\noindent
What you are holding in your hands or browsing on your screen is the first book published by the Everyday Technology Press, an imprint run by the Rotterdam-based collective space Varia. Everyday technology is not just a moniker for the tools and devices we use on a daily basis, but a formula that identifies a perspective on technical artefacts and a programmatic goal. Everyday technology means that a sewing machine is no less important than a laptop, that a seamstress's work is by no means less meaningful than that of a computer scientist. Focusing on everyday technology means questioning the hierarchies that surround technical objects and therefore the valorisation of skills needed to design or use them. Everyday technology means also reconsidering the hegemony of high tech: with our publications, we try to show that low-tech approaches can be complex, inventive, and joyful.
What you are holding in your hands or browsing on your screen is the first book published by the Everyday Technology Press, an imprint run by the Rotterdam-based collective space Varia. Everyday technology is not just a moniker for the tools and devices we use on a daily basis, but a formula that identifies a perspective on technical artefacts and a programmatic goal. Everyday technology means that a sewing machine is no less important than a laptop, that a seamstress’s work is by no means less meaningful than that of a computer scientist. Focusing on everyday technology means questioning the hierarchies that surround technical objects and therefore the valorisation of skills needed to design or use them. Everyday technology means also reconsidering the hegemony of high tech: with our publications, we try to show that low-tech approaches can be complex, inventive, and joyful.
\looseness=13
\clubpenalty10000
\fontdimen3\font=0.2em
At Everyday Technology Press, we believe that not only experts should have access and decisive power in regards to how things should work. This is why our publications show and document convivial tools; tools that guarantee a certain degree of autonomy to their users. We understand autonomy in Ivan Illich's terms, namely, the possibility for each and everyone to use a tool in order to realise their own intentions and create meaning by leaving a mark, however small, in the world.\footnote{Ivan Illich, \emph{Tools for conviviality }(New York: Harper and Row,1973).} We strive to include multiple and entangled perspectives, needs, and aspirations that are at play when it comes to technology. We think of theory as a practice and practice as a form of knowledge production. True to this belief, in our publications we complement analyses with instructions and code; tutorials and methods with essays. Here, the \emph{know what} goes hand in hand with the \emph{know how}.
At Everyday Technology Press, we believe that not only experts should have access and decisive power in regards to how things should work. This is why our publications show and document convivial tools; tools that guarantee a certain degree of autonomy to their users. We understand autonomy in Ivan Illich’s terms, namely, the possibility for each and everyone to use a tool in order to realise their own intentions and create meaning by leaving a mark, however small, in the world.\footnote{ Ivan Illich, \emph{Tools for conviviality} (New York: Harper and Row,1973).} We strive to include multiple and entangled perspectives, needs, and aspirations that are at play when it comes to technology. We think of theory as a practice and practice as a form of knowledge production. True to this belief, in our publications we complement analyses with instructions and code; tutorials and methods with essays. Here, the \emph{know what} goes hand in hand with the \emph{know how}.
\fontdimen3\font=0.1em
Through its engagement with vernacular languages, \emph{VLTK} suggests another meaning of everyday technology. Technology is often not recognised as such. Language, for example, is something that many take for granted and deem and call ``natural.'' However, a variety of technical procedures, rules, and constraints operate on top of its roots, which are, according to Jorge Luis Borges, ``irrational and magical.''\footnote{ Jorge Luis Borges, \emph{El otro, el mismo} (Buenos Aires: Emecé, 2005).} This is how language becomes a technology. The technologisation of language tends to be a singular, reductive operation that produces a language with a capital ``L'' as a technology with a capital ``T.'' \emph{VLTK} counterbalances that: this book does not only show that a wealth of linguistic modes of being exist, but also that they can thrive, given enough space and the proper amount of attention.
Through its engagement with vernacular languages, \emph{VLTK} suggests another meaning of everyday technology. Technology is often not recognised as such. Language, for example, is something that many take for granted and deem and call “natural.” However, a variety of technical procedures, rules, and constraints operate on top of its roots, which are, according to Jorge Luis Borges, “irrational and magical.”\footnote{Jorge Luis Borges, \emph{El otro, el mismo} (Buenos Aires: Emecé, 2005).} This is how language becomes a technology. The technologisation of language tends to be a singular, reductive operation that produces a language with a capital “L” as a technology with a capital “T.” \emph{VLTK} counterbalances that: this book does not only show that a wealth of linguistic modes of being exist, but also that they can thrive, given enough space and the proper amount of attention.
\\\\
\noindent
Silvio Lorusso

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% CHAPTER PAGE
\enlargethispage{-2\baselineskip}
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\begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=16pt, bottom=28pt]
\chapter[From \emph{contradictionaries} to \emph{formatterings} An introduction to VLTK -- Vernacular Language Toolkit\\Cristina Cochior, Julie Boschat-Thorez, Manetta Berends]{From \emph{contradictionaries}\\to \emph{formatterings}\\An introduction to VLTK\\-- Vernacular Language\\Toolkit\footnotemark\\\\Cristina Cochior\\Julie Boschat-Thorez\\Manetta Berends}

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\fancyfoot[RO]{\thepage}
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% CHAPTER PAGE
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\begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=17pt, bottom=29pt]
\chapter[A high-low mix tape\\on the subject of\\the vernacular\\\\Clara Balaguer]{A high-low mix tape\\on the subject of\\the vernacular\\\\Clara Balaguer}
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@ -28,7 +30,9 @@
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\noindent
{\sectionfont\fontsize{24pt}{24pt}\selectfont Lecture Performance\\
@ -36,9 +40,7 @@
}
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\addtolength{\skip\footins}{10pt}
\vspace{\baselineskip}
\section{\hspace{-1em}TRACK 1}
@ -508,19 +510,25 @@ Eye will have to remember, next time, to picture the homonymous image of ewe --
Play full song, sing along. AND EEEEEEEEEYYYYYYYEEEEEEEEE\ldots{}\\
\begin{figure}[b!]
\centering
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\caption*{\fontsize{8pt}{12pt}\selectfont Local market supplier banana trunk and plastic tie diskarte, photo by OCD}
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\caption*{\fontsize{8pt}{12pt}\selectfont Saw cover diskarte, photo by OCD}
\end{figure}

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00_contributions/FINAL/layout/04_ren.tex
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\fancyfoot[RO]{\thepage}
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% CHAPTER PAGE
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@ -27,7 +29,7 @@
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\vspace{\baselineskip}
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\setlength{\parindent}{2em}
@ -55,7 +57,7 @@
\end{flushright}
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\vspace{1\baselineskip}
\newpage
\begin{quoting}
\setlength{\parindent}{2em}
@ -83,7 +85,7 @@ Vernacular comes to matter in the dictionary within language and architecture. I
Following vernacular-as-in--deadname and vernacular-as-in--what-did-you-say, this article focuses on trans*gender deadnames as a praxis of misfitting that matters and responds directly to the problematics of linguistic and actual erasure. Readers will follow a trail through Jara Rocha's theory of “kingdom dysphoria,” Willow Hayward's web plugin Deadname Remover, and Danielle Braithwaite-Shirley's project \emph{the BlackTransArchive.} These examples open pathways through reconfiguring trans* deadnames and consider how colloquial language when brought next to systems can be elided (omitted or joined) and looped back in to make openings, frictions, and other trails again and again\ldots. and\ldots{} again\ldots{} again\ldots.and again, and again, and\ldots{} \ldots. ...... \ldots\ldots.. \ldots\ldots\ldots{}
\section{\nohyphens{Living with (the) dead(names):\\naming edges}}
\newpage
\noindent
DEADNAME as defined by the Digital Transgender Archive is: “A name that an individual no longer uses or identifies with. Deadnaming is the use or revealing of a person's deadname without their consent, often with harmful intentions.”\footnote{ “Glossary,” \emph{Digital Transgender Archive}, 2021,~\url{https://www.digitaltransgenderarchive.net/learn/glossary}. Accessed November 16, 2021.}

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00_contributions/FINAL/layout/05_rosemary-interview.tex
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\chapter[Somewhere between\\automation and the\\handmade\\\\Interview with Rosemary\\Grennan]{Somewhere between\\automation and the\\handmade\\\\Interview with Rosemary\\Grennan}
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@ -27,7 +29,7 @@
\addtolength{\skip\footins}{10pt}
\vspace{2\baselineskip}
\vspace{\baselineskip}
\noindent
Leftovers is a project that seeks to create a shared online archive of radical, anti-oppressive, and working class movements, and the material traces they have left. The platform aids the dissemination of archived ephemera from these movements, campaigns, and struggles, casting light on histories of resistance from below by opening up archives of radical dissent. Leftovers consists of a website (\url{https://dev.leftove.rs}) and an archive backend (\url{https://archive.leftove.rs}).
@ -93,20 +95,16 @@ General Strike (245)\\
\noindent
Some of these are terms that occur too many times or are too broad, such as “Occupation,” to be a useful way of filtering an item, but some such as “Rent Strike” are specific enough to be a useful means of linking up documents. We thought that this category of “Tactics” was a useful one to reorientate the collection as something that can be used as resources for current struggles to integrate tactics of the past that might have been forgotten.
\begin{figure}[h!]
\centerline{
\includegraphics[height=14\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/01.png}
}
\end{figure}
\subsubsection{In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}
\subsubsection{{\raggedright In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}}
\newpage
\noindent
Sean Dockray was the first to use NLP on Leftovers, applying the entity extractor from the spaCy library to help create an index for one of our publications, \emph{Muther Grumble}. He described the process as somewhere between automation and the handmade, and I think that this really characterises the kind of experiments we have been doing with NLP since then. We have used NLP as a research tool to try and get deeper into the documents' content rather than the usual mode of algorithmic analysis, which only looks at the derivatives of the object. The process has definitely brought up more questions around categorisation than answers to it, as it has unearthed many themes, entities, people, and places that we didn't know existed across the collections. From spaCy, we used their libraries to extract arts, events, organisations, and people, and applied these across the entire publication. We are now undergoing a process of sifting through the noise of the results and figuring out what might be relevant to form into different categories, or which names and organisations we should search across the archive.
\begin{figure}[h!]
\centerline{
\includegraphics[height=24\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/02.png}
\includegraphics[height=14\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/01.png}
}
\end{figure}
@ -115,15 +113,21 @@ There have been many different strategies of inputting metadata on Leftovers. So
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/03.jpg}
\includegraphics[height=20\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/02.png}
}
\end{figure}
\noindent
One of the ways of sorting the result of the different NLP scripts was to create word clouds to visually look at the most frequently occurring terms (see above). For example, in the word cloud that showed people, one of the most prominent names was Ronald Reagan, but this data did not fit into any of our categories relating to people, which mainly represent comradely relations. NLP was better at pulling out these known entities like Reagan rather than minor figures in left history, as the libraries have been trained on certain data sets. This could be immensely problematic as a tool of categorisation for an archive of radical ephemera. However, by thinking these relationships through and thinking what to do with this data we came up with the category of “Antagonisms.” We thought this showed the archive to be partisan and not a neutral historical collection, as well as establishing an oppositional relation to some of the data that the NLP was producing.
\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/03.jpg}
}
\end{figure}
\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
\newpage
\noindent
Leftovers was initiated by myself at MayDay Rooms, and was developed in collaboration with Jan Gerber from 0x2620. Anthony Iles from \emph{Mute Magazine} joined the working group in 2020 and has been very active in finding material and inputting metadata. He also helped produce our first online exhibition based on the digital archive called \emph{Print Subversion in the Wapping Dispute} which can be found here \url{https://exhibitions.maydayrooms.org/wapping}.We got a small grant to further develop our interface in 2020, and for this we worked with Gemma Copeland and Robbie Blundell from Evening Class, a design collective in London, to design the front end. You can see the work-in-progress version here, \url{https://dev.leftove.rs}.
@ -148,17 +152,16 @@ As well as the anonymous or group producer in the archive, there are the invisib
Leftovers is trying to undo proprietal forms of ownership over the archive in favour of an archive that is a common resource and will eventually be owned in common too. The destabilisation of the field of the author, in favour of a form that acknowledges all those who went into the production of the material, is very much part of this process.
\begin{figure}[h!]
\centerline{
\includegraphics[height=24\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/04.png}
}
\end{figure}
\newpage
\subsubsection{How does the archive support dissemination of its material?}
\noindent
\url{https://twitter.com/ArchivioGrafton/status/1357425808768385025?s=20}\\
\url{https://twitter.com/ArchivioGrafton/status/1357425808768385025?s=20}
\begin{figure}[h!]
\centerline{
\includegraphics[height=22\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/04.png}
}
\end{figure}
\noindent
I really liked this tweet from Archivio Grafton about their material on Leftovers, where they say, “when you publish something on the net, let everyone take it and freely distribute it.” It points to the fact that the aggregation of all this radical ephemera is an act of redistribution itself. We only collect things that were part of a political movement and that were shared publicly at the time they were produced, and believe they were produced in struggle and through this are collectively owned.

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00_contributions/FINAL/layout/06_michael.tex
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\fancyfoot[RO]{\thepage}
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\begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=16pt, bottom=28pt]
\chapter[torn at the seams:\\considering computational\\vernacular\\\\Michael Murtaugh]{torn at the seams:\\considering computational\\vernacular\\\\Michael Murtaugh}
@ -28,7 +30,7 @@
\addtolength{\skip\footins}{10pt}
\vspace{2\baselineskip}
\vspace{1\baselineskip}
\begin{quoting}
Processing is a free, open source programming language and environment used by students, artists, designers, architects, researchers and hobbyists for learning, prototyping, and production. Processing is developed by artists and designers as an alternative to proprietary software tools in the same domain. The project integrates a programming language, development environment, and teaching methodology into a unified structure for learning and exploration.\footnote{Casey Reas and Ben Fry, \emph{Processing: A Programming Handbook for Visual Designers and Artists} (Cambridge: MIT Press, 2007), xxi-xxii.}
@ -38,7 +40,7 @@
Teaching programming with free software to media design students for years, I've resisted Processing as it has always seemed to me to embody a particular kind of solipsism of digital interactivity and graphics that I want my students to avoid.
\section{Design by numbers}
\newpage
\noindent
In the fall of 1996, John Maeda joined the MIT Media Lab to replace the recently deceased Muriel Cooper. Cooper was the first art director of the MIT Press, producing influential designs such as a 1969 catalogue of the Bauhaus and the iconic MIT Press logo, a Bauhaus-inspired stylised graphical rendering of the letters “mitp.” Cooper started the Visible Language Workshop, later one of the founding groups of the MIT Media Lab, to research the intersection of publishing, design, and computation.
@ -95,6 +97,7 @@ Processing sketches consist of (at least) two functions: \emph{setup} which is i
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/04_pbook.png}
}
\vspace{-1\baselineskip}
\end{figure}
\begin{quoting}
@ -168,18 +171,19 @@ ImageMagick is a command line tool, designed to be used via textual commands. Th
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/08_imbook_inside.png}
}
\vspace{\baselineskip}
\end{figure}
Salehi's book directly reflects the structure of ImageMagick, with chapters organised around various incorporated “tools”: convert, mogrify, composite, montage, identify, display, conjure. The examples are practical: creating logos, or adding captions or a border to an image. One example renders the word “Candy” with colourful stripes. Another series of examples duplicates and inverts the image and text of classical Persian poet Hafez to create a kind of playing card. Another example uses ImageMagick in conjunction with PHP and HTML to produce an online “e-card maker”: a sequence of commands is demonstrated to render the text “No More War” (in a dripping paint font), deform it, and project it onto the side of a chess piece.
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/09_imbook_flag.jpg}
}
\vspace{\baselineskip}
\end{figure}
\noindent
Salehi’s book directly reflects the structure of ImageMagick, with chapters organised around various incorporated “tools”: convert, mogrify, composite, montage, identify, display, conjure. The examples are practical: creating logos, or adding captions or a border to an image. One example renders the word “Candy” with colourful stripes. Another series of examples duplicates and inverts the image and text of classical Persian poet Hafez to create a kind of playing card. Another example uses ImageMagick in conjunction with PHP and HTML to produce an online “e-card maker”: a sequence of commands is demonstrated to render the text “No More War” (in a dripping paint font), deform it, and project it onto the side of a chess piece.
In another extended example, a flag is constructed in steps. Rather than approaching the project as drawing geometric forms on a canvas, Salehi uses the diversity of ImageMagick's manipulations, performing a series of commands whose textual names invoke a sense of physical construction: blocks of colour are skewed, sheared, cropped, flipped, flopped, and finally spliced (with “gravity” set to center). The approach creates a number of intermediate images, thus creating the digital equivalents of “cuttings” or leftover materials in the process.
By modifying the first step to use an image, \footnote{Image: \url{https://commons.wikimedia.org/wiki/File:Boris_Johnson_official_portrait_(cropped).jpg}, Ben Shread / Cabinet Office, UK Open Government Licence v3.0 (OGL v.3)} I produced the following (intermediate) results:
@ -187,24 +191,18 @@ By modifying the first step to use an image, \footnote{Image: \url{https://commo
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/10_background2.png}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/10_background2.png}
\hspace{6pt}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/11_img.png}
\hspace{6pt}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/12_flag.png}
}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/11_img.png}
}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/12_flag.png}
}
\end{figure}
\section{Constructivism and\\ the bricoleur}
\noindent
@ -215,24 +213,25 @@ In the 1920s, Russian avant-gardist El Lissitsky moved to Berlin and produced wo
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/13_forthevoice.png}
}
\caption*{\emph{For the Voice}, book designed by El Lissitzky. Image from the archive of Guttorm Guttormsgaard. Used with permission. \url{https://arkiv.guttormsgaardsarkiv.no/node/19/item/39}}
\caption*{\fontsize{8pt}{12pt}\selectfont \emph{For the Voice}, book designed by El Lissitzky. Image from the archive of Guttorm Guttormsgaard. Used with permission. \url{https://arkiv.guttormsgaardsarkiv.no/node/19/item/39}}
\vspace{\baselineskip}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/14_mindstorms00.jpg}
}
\end{figure}
\begin{figure}[h!]
\vspace{12pt}
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/15_mindstorms01.jpg}
}
\vspace{12pt}
\end{figure}
\noindent
Constructivism is also the name given to the pedagogic project associated with Seymour Papert. In the 1970s, Papert co-developed a pedagogy for teaching children mathematics and programming based on the LOGO programming language. Part of the system was a virtual robotic turtle that could be programmed to draw figures. The system, known as Turtle graphics, had commands that directly addressed the “turtle” to draw shapes while moving: forward, turn left, turn right, pen up, pen down.
\begin{quoting}
@ -242,30 +241,34 @@ Constructivism is also the name given to the pedagogic project associated with S
\noindent
Papert described the pedagogic project of LOGO in book titled \emph{Mindstorms}. In a key example, Papert describes how students can be taught about circles by imagining (or better yet themselves enacting) the turtle repeatedly performing the sequence “go forward a little, turn a little.” He contrasts this with the formal equation of a circle (x\textsuperscript{2} + y\textsuperscript{2} = r\textsuperscript{2}) typically taught in an elementary school geometry class.\footnote{ Papert, \emph{Mindstorms}, 173.}
\begin{quoting}
TO CIRCLE REPEAT {[}FORWARD 1 RIGHT 1{]}
\end{quoting}
\begin{lstlisting}
TO CIRCLE REPEAT [FORWARD 1 RIGHT 1]
\end{lstlisting}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/16_mindstorms-seq02.jpg}
}
\end{figure}
\begin{figure}[h!]
\vspace{12pt}
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/17_mindstorms-seq04.jpg}
}
\vspace{12pt}
\end{figure}
\noindent
In a powerful central visual sequence, \emph{Mindstorms} presents a series of illustrations showing the screen output of code alongside a running dialogue. The conversation starts with a proposition to draw a flower like one sketched on paper. First they consider what programs they might already have to make use of, in this case they have a procedure to draw a quarter circle. Through a series of steps, mistakes are made, plans are adjusted and retried, and happy accidents lead to discoveries (it's a bird!). In the process the “ends become means” and a new tool is put to use to create a garden, and then, incorporating the “bug,” a flock of flying birds.
\noindent
In Belgium, where I live “brico” is the French language equivalent to “DIY” and is often used in a derogatory sense to indicate that something is made in an amateurish way. Papert is borrowing the term from Claude Lévi-Strauss, who first used the term in an anthropological context hypothesising how “universal” knowledge might form from myth and fragmentary cultural knowledge.\footnote{ Claude Lévi-Strauss, “The Science of the Concrete,” in \emph{The Savage Mind} (Chicago: University of Chicago Press, 1966), Chapter 1.}
For Papert, bricolage exhibits a quality whereby informal methods not only appeal to “common sense” but also engage more profoundly with the materiality of the subject than would a formal approach. In the case of the circle, the “turtle” method is not only a way for the student to imagine the problem physically, it also relates to methods of differential calculus, something the algebraic formulation misses completely. In hacker circles, bricolage is evident in an approach of embracing “glue code” and “duct tape” methods, like the pipeline, that allow different systems to be “hacked” together to do useful (new) things.
\section{Misplaced concretism and a feminist method}
\section{Misplaced concretism and\\a feminist method}
\noindent
Alfred North Whitehead, writing on the sciences, established an influential idea of a “fallacy of misplaced concreteness.” The idea is that making abstractions, such as what happens when a particular phenomenon is named, is a simplification that works by suppressing “what appear to be irrelevant details.”\footnote{ Alfred North Whitehead, \emph{Science and the Modern World} (New York: Free Press, 1967), retrieved from Internet Archive, October 28, 2021, \url{https://archive.org/details/sciencemodernwor00alfr/page/52/mode/2up}.} In \emph{Media Ecologies}, Matthew Fuller extends this thinking to consider technical standards as “a material instantiation” of Whitehead's misplaced concreteness, and considers how technical devices through a process of \emph{objectification} “expect in advance the results that they obtain.”\footnote{ Matthew Fuller, \emph{Media Ecologies} (Cambridge: MIT Press, 2005), 127, 104.}
@ -284,10 +287,9 @@ She cites Donna Haraway, who wonders in \emph{A Cyborg Manifesto}:
\end{quoting}
\noindent
Star draws on a tradition of diverse feminist thinking through the “articulation of multiplicity, contradiction, and partiality, while standing in a politically situated, moral collective” to synthesise and propose what she calls the important attributes of a feminist method:
Star draws on a tradition of diverse feminist thinking through the “articulation of multiplicity, contradiction, and partiality, while standing in a politically situated, moral collective” to synthesise and propose what she calls the important attributes of a feminist method:\\
\begin{compactitem}
\def\labelenumi{\arabic{enumi}.}
\begin{compactitem}[$\bullet$]
\tightlist
\item
experiential and collective basis;
@ -298,7 +300,7 @@ Star draws on a tradition of diverse feminist thinking through the “articulati
\item
situated historicity with great attention to detail and specificity;
\item
the simultaneous application of all of these points.\footnote{ Leigh Star, “Misplaced Concretism and Concrete Situations, 148--149.}
the simultaneous application of all of these points.\footnote{ Leigh Star, “Misplaced Concretism and Concrete Situations, 148--149.}\\
\end{compactitem}
\noindent

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\textbf{Clara Balaguer} (Makati City, Pisces Metal Monkey) is a cultural worker and grey literature circulator. From 2010 to 2018, she articulated cultural programming with rural, peri-urban, and diasporic communities from the Philippines through the~\emph{OCD}, a residency space and social practice platform. In 2013, she co-founded Hardworking Goodlooking, a cottage industry publishing hauz interested in the material vernacular, collectivizing authorship, and the value of the error.~ Currently, she builds and publishes curriculums at BAK basis voor aktuele kunst as head of Civic Praxis (Community Portal); at Willem de Kooning Academy as research lecturer in Social Practices; at Piet Zwart Institute as a midwife for Experimental Publishing; and at Sandberg Institute as teacher at the Dirty Art Department. Frequently, she operates under collective or individual aliases that disclose her stewardship in any given project, the latest of which is To Be Determined: a transitional, migratory, neighborly structure of sleeper cells (Trojan horse networks) that activate--deactivate for leaking access to cultural capital.
\textbf{Manetta Berends} works with forms of networked publishing, situated software and collective infrastructures. She is a member of Varia, a member based organisation working on everyday technology in Rotterdam, and an educator at the master Experimental Publishing at the Piet Zwart Institute. \url{https://manettaberends.nl}
\textbf{Julie Boschat-Thorez} is a researcher, artist and educator whose work focuses on knowledge organisation systems and the stories which can be extracted from them. She primarily investigates mundane objects such as archives, collections, datasets or museums, to recover traces of their creators ideas and circumstances (for better or worse). She also has an overlapping practice of archiving with an interest for variability, circulation, community and access. She is a member of Varia, a Rotterdam based initiative which aims at developing critical understandings of the technologies that surround us. She teaches at the Willem de Kooning Academy.
\textbf{Ren Loren Britton} is a white trans* interdisciplinary artist and researcher tuning with practices of Critical Pedagogy, Trans*FeministTechno Science and Disability Justice. Playing with the queer potential of undoing norms they practice joyful accountability to matters of collaboration, access, Black Feminisms, instability and trans*politics. They love slowness, reading, following non-linear processes and experimenting towards greater accessibility.~Ren has presented work with multiple institutions including Transmediale (Berlin), ALT\_CPH Biennale (Copenhagen), Haus der Kulturen der Welt (Berlin), Constant (Brussels), Sonic Acts (Amsterdam), Kunsthalle Osnabrück (Osnabrück), Varia (Rotterdam), Rupert (Vilnius) and Martin Gropius Bau (Berlin). With Isabel Paehr as MELT they operate as an art-design duo, questioning how coloniality, climate change and technological developments are intertwined. To pursue these questions, MELT boils up insights from chemistry, crip technoscience and trans *feminism to study and set in motion transformative material-discursive processes. MELT is currently a Fellow with the project ACCESS SERVER at the Het Nieuew Instituut in Rotterdam, NL and an associate fellow with MELT's project Data for\ldots? (trans* and disabled lives) with the Digital Curation Institute at the University of Toronto, CA.
\textbf{Cristina Cochior} is a researcher and designer working in the Netherlands. With an interest in automation, situated software and peer to peer knowledge production, her work largely consists of investigations into the intimate bureaucracy of knowledge organisation systems and building collective, non-extractive digital infrastructures. She is a member of Varia and teaches at Willem de Kooning Academy.
\enlargethispage{1\baselineskip}
\textbf{Rosemary Grennan} is the co-director of MayDay Rooms, an archive and educational space in London which seeks to connect histories and documents of radicalism and resistance to contemporary struggle. She is also completing a PhD in Media Anthropology from University College London.
\textbf{Silvio Lorusso} is a writer, artist and designer based in Rotterdam, the Netherlands. In 2018 he published his first book entitled \emph{Entreprecariat}. He is an assistant professor and vice-director of the Centre for Other Worlds at the Lusófona University in Lisbon. Lorusso holds a Ph.D. in Design Sciences from the Iuav University of Venice.
\textbf{Cengiz Mengüç} is a graphic designer and visual artist interested in diasporic identity expressed through the vernacular visual culture and architecture of the everyday. His current practice moves between commissioned art and design work, street-level~advertising work and self-initiated projects, working mostly across the mediums of installation, print and publishing. Currently, he is developing new work based on his ongoing research. Cengiz Mengüç graduated from the ArtEZ Institute of the Arts with a Bachelor degree in graphic design and works and lives in Rotterdam.
\textbf{Michael Murtaugh} is a computer programmer who researches community databases, interactive documentaries and tools for new forms of online reading and writing. He contributes to projects such as the Institute for Computational Vandalism and Active Archives, is a member of Constant and involved in Piet Zwart Media Design where he teaches at the Experimental Publishing Masters course. \url{http://automatist.org/}
\textbf{Varia} is a small member-based organisation in Rotterdam (Charlois), focused on everyday technology. It uses the term everyday technology to break through the vision of old and new~technology, or smart and not so smart technology by looking more at the appropriateness of what~each technology does in a particular situation, while trying to understand whose everyday~is meant by the term, to not include one single~world view, but to acknowledge that everyone~engages with technology in a different way. \url{https://varia.zone}

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\section{\nohyphens{Preface: Everyday\\Technology Press}}
\noindent
What you are holding in your hands or browsing on your screen is the first book published by the Everyday Technology Press, an imprint run by the Rotterdam-based collective space Varia. Everyday technology is not just a moniker for the tools and devices we use on a daily basis, but a formula that identifies a perspective on technical artefacts and a programmatic goal. Everyday technology means that a sewing machine is no less important than a laptop, that a seamstress's work is by no means less meaningful than that of a computer scientist. Focusing on everyday technology means questioning the hierarchies that surround technical objects and therefore the valorisation of skills needed to design or use them. Everyday technology means also reconsidering the hegemony of high tech: with our publications, we try to show that low-tech approaches can be complex, inventive, and joyful.
\looseness=13
\clubpenalty10000
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At Everyday Technology Press, we believe that not only experts should have access and decisive power in regards to how things should work. This is why our publications show and document convivial tools; tools that guarantee a certain degree of autonomy to their users. We understand autonomy in Ivan Illich’s terms, namely, the possibility for each and everyone to use a tool in order to realise their own intentions and create meaning by leaving a mark, however small, in the world. \footnote{ Ivan Illich, \emph{Tools for conviviality} (New York: Harper and Row,1973).} We strive to include multiple and entangled perspectives, needs, and aspirations that are at play when it comes to technology. We think of theory as a practice and practice as a form of knowledge production. True to this belief, in our publications we complement analyses with instructions and code; tutorials and methods with essays. Here, the \emph{know what} goes hand in hand with the \emph{know how}.
\fontdimen3\font=0.1em
Through its engagement with vernacular languages, \emph{VLTK} suggests another meaning of everyday technology. Technology is often not recognised as such. Language, for example, is something that many take for granted and deem and call “natural.” However, a variety of technical procedures, rules, and constraints operate on top of its roots, which are, according to Jorge Luis Borges, “irrational and magical.” \footnote{Jorge Luis Borges, \emph{El otro, el mismo} (Buenos Aires: Emecé, 2005).} This is how language becomes a technology. The technologisation of language tends to be a singular, reductive operation that produces a language with a capital “L” as a technology with a capital “T.” \emph{VLTK} counterbalances that: this book does not only show that a wealth of linguistic modes of being exist, but also that they can thrive, given enough space and the proper amount of attention.
\\\\
\noindent
Silvio Lorusso
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% --- INTRODUCTION ---
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\begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=16pt, bottom=28pt]
\chapter[From \emph{contradictionaries} to \emph{formatterings} An introduction to VLTK -- Vernacular Language Toolkit\\Cristina Cochior, Julie Boschat-Thorez, Manetta Berends]{From \emph{contradictionaries}\\to \emph{formatterings}\\An introduction to VLTK\\-- Vernacular Language\\Toolkit\footnotemark\\\\Cristina Cochior\\Julie Boschat-Thorez\\Manetta Berends}

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\chapter[A high-low mix tape\\on the subject of\\the vernacular\\\\Clara Balaguer]{A high-low mix tape\\on the subject of\\the vernacular\\\\Clara Balaguer}
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{\sectionfont\fontsize{24pt}{24pt}\selectfont Lecture Performance\\
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@ -698,19 +700,25 @@ Eye will have to remember, next time, to picture the homonymous image of ewe --
Play full song, sing along. AND EEEEEEEEEYYYYYYYEEEEEEEEE\ldots{}\\
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@ -273,7 +273,7 @@ Vernacular comes to matter in the dictionary within language and architecture. I
Following vernacular-as-in--deadname and vernacular-as-in--what-did-you-say, this article focuses on trans*gender deadnames as a praxis of misfitting that matters and responds directly to the problematics of linguistic and actual erasure. Readers will follow a trail through Jara Rocha's theory of “kingdom dysphoria,” Willow Hayward's web plugin Deadname Remover, and Danielle Braithwaite-Shirley's project \emph{the BlackTransArchive.} These examples open pathways through reconfiguring trans* deadnames and consider how colloquial language when brought next to systems can be elided (omitted or joined) and looped back in to make openings, frictions, and other trails again and again\ldots. and\ldots{} again\ldots{} again\ldots.and again, and again, and\ldots{} \ldots. ...... \ldots\ldots.. \ldots\ldots\ldots{}
\section{\nohyphens{Living with (the) dead(names):\\naming edges}}
\newpage
\noindent
DEADNAME as defined by the Digital Transgender Archive is: “A name that an individual no longer uses or identifies with. Deadnaming is the use or revealing of a person's deadname without their consent, often with harmful intentions.”\footnote{ “Glossary,” \emph{Digital Transgender Archive}, 2021,~\url{https://www.digitaltransgenderarchive.net/learn/glossary}. Accessed November 16, 2021.}

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@ -27,11 +27,11 @@
\usepackage[hyphens]{url}
\usepackage{ltablex}
\usepackage{vcell}
\usepackage{float}
\usepackage{float}
\usepackage{calc}
\usepackage{etoolbox}
\usepackage[vskip=12pt,indentfirst=false, leftmargin=2em, rightmargin=2em]{quoting}
\usepackage{multicol}
% CONFIGURE PACKAGES
@ -142,7 +142,7 @@
% SUBSUBSECTION
\renewcommand{\thesubsubsection}{\arabic{subsubsection}}
\titleformat{\subsubsection}[block]{\sectionfont\fontsize{11pt}{12pt}\selectfont}{}{0pt}{}
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% PARAGRAPHS
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@ -187,7 +187,7 @@ tabsize=3
% \tableofcontents{\thispagestyle{empty}}
% \clearpage{\thispagestyle{empty}\cleardoublepage}
\setcounter{page}{1}
\setcounter{page}{49}
% --- PART 5 ---
% --- INTERVIEW ---
@ -198,12 +198,12 @@ tabsize=3
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\begin{tcolorbox}[boxrule=2pt, arc=24mm, colframe=black, colback=white, spread inwards=-16mm, spread outwards=-8mm, left=8mm, top=17pt, bottom=27pt]
\chapter[Somewhere between\\automation and the\\handmade\\\\Interview with Rosemary\\Grennan]{Somewhere between\\automation and the\\handmade\\\\Interview with Rosemary\\Grennan}
\end{tcolorbox}
\begin{center}
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@ -217,7 +217,7 @@ tabsize=3
\addtolength{\skip\footins}{10pt}
\vspace{2\baselineskip}
\vspace{\baselineskip}
\noindent
Leftovers is a project that seeks to create a shared online archive of radical, anti-oppressive, and working class movements, and the material traces they have left. The platform aids the dissemination of archived ephemera from these movements, campaigns, and struggles, casting light on histories of resistance from below by opening up archives of radical dissent. Leftovers consists of a website (\url{https://dev.leftove.rs}) and an archive backend (\url{https://archive.leftove.rs}).
@ -283,20 +283,16 @@ General Strike (245)\\
\noindent
Some of these are terms that occur too many times or are too broad, such as “Occupation,” to be a useful way of filtering an item, but some such as “Rent Strike” are specific enough to be a useful means of linking up documents. We thought that this category of “Tactics” was a useful one to reorientate the collection as something that can be used as resources for current struggles to integrate tactics of the past that might have been forgotten.
\begin{figure}[h!]
\centerline{
\includegraphics[height=14\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/01.png}
}
\end{figure}
\subsubsection{In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}
\subsubsection{{\raggedright In another conversation we had, you mentioned you worked with Natural Language Processing (NLP) tools for this archive and earlier you mentioned that all the documents have been OCRed. So we are wondering how NLP had been applied to the documents? What influenced the conceptualisation of those operations?}}
\newpage
\noindent
Sean Dockray was the first to use NLP on Leftovers, applying the entity extractor from the spaCy library to help create an index for one of our publications, \emph{Muther Grumble}. He described the process as somewhere between automation and the handmade, and I think that this really characterises the kind of experiments we have been doing with NLP since then. We have used NLP as a research tool to try and get deeper into the documents' content rather than the usual mode of algorithmic analysis, which only looks at the derivatives of the object. The process has definitely brought up more questions around categorisation than answers to it, as it has unearthed many themes, entities, people, and places that we didn't know existed across the collections. From spaCy, we used their libraries to extract arts, events, organisations, and people, and applied these across the entire publication. We are now undergoing a process of sifting through the noise of the results and figuring out what might be relevant to form into different categories, or which names and organisations we should search across the archive.
\begin{figure}[h!]
\centerline{
\includegraphics[height=24\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/02.png}
\includegraphics[height=14\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/01.png}
}
\end{figure}
@ -305,15 +301,21 @@ There have been many different strategies of inputting metadata on Leftovers. So
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/03.jpg}
\includegraphics[height=20\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/02.png}
}
\end{figure}
\noindent
One of the ways of sorting the result of the different NLP scripts was to create word clouds to visually look at the most frequently occurring terms (see above). For example, in the word cloud that showed people, one of the most prominent names was Ronald Reagan, but this data did not fit into any of our categories relating to people, which mainly represent comradely relations. NLP was better at pulling out these known entities like Reagan rather than minor figures in left history, as the libraries have been trained on certain data sets. This could be immensely problematic as a tool of categorisation for an archive of radical ephemera. However, by thinking these relationships through and thinking what to do with this data we came up with the category of “Antagonisms.” We thought this showed the archive to be partisan and not a neutral historical collection, as well as establishing an oppositional relation to some of the data that the NLP was producing.
\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/03.jpg}
}
\end{figure}
\subsubsection{You've already mentioned that Leftovers came together as a collaboration with 0x2620. Are there more collaborators involved in the making of this archive?}
\newpage
\noindent
Leftovers was initiated by myself at MayDay Rooms, and was developed in collaboration with Jan Gerber from 0x2620. Anthony Iles from \emph{Mute Magazine} joined the working group in 2020 and has been very active in finding material and inputting metadata. He also helped produce our first online exhibition based on the digital archive called \emph{Print Subversion in the Wapping Dispute} which can be found here \url{https://exhibitions.maydayrooms.org/wapping}.We got a small grant to further develop our interface in 2020, and for this we worked with Gemma Copeland and Robbie Blundell from Evening Class, a design collective in London, to design the front end. You can see the work-in-progress version here, \url{https://dev.leftove.rs}.
@ -338,17 +340,16 @@ As well as the anonymous or group producer in the archive, there are the invisib
Leftovers is trying to undo proprietal forms of ownership over the archive in favour of an archive that is a common resource and will eventually be owned in common too. The destabilisation of the field of the author, in favour of a form that acknowledges all those who went into the production of the material, is very much part of this process.
\begin{figure}[h!]
\centerline{
\includegraphics[height=24\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/04.png}
}
\end{figure}
\newpage
\subsubsection{How does the archive support dissemination of its material?}
\noindent
\url{https://twitter.com/ArchivioGrafton/status/1357425808768385025?s=20}\\
\url{https://twitter.com/ArchivioGrafton/status/1357425808768385025?s=20}
\begin{figure}[h!]
\centerline{
\includegraphics[height=22\baselineskip]{\imgdir /05_rosemary-interview-images/grayscale/04.png}
}
\end{figure}
\noindent
I really liked this tweet from Archivio Grafton about their material on Leftovers, where they say, “when you publish something on the net, let everyone take it and freely distribute it.” It points to the fact that the aggregation of all this radical ephemera is an act of redistribution itself. We only collect things that were part of a political movement and that were shared publicly at the time they were produced, and believe they were produced in struggle and through this are collectively owned.

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@ -27,11 +27,11 @@
\usepackage[hyphens]{url}
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% CONFIGURE PACKAGES
@ -142,7 +142,7 @@
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@ -198,7 +198,9 @@ tabsize=3
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\chapter[torn at the seams:\\considering computational\\vernacular\\\\Michael Murtaugh]{torn at the seams:\\considering computational\\vernacular\\\\Michael Murtaugh}
@ -218,7 +220,7 @@ tabsize=3
\addtolength{\skip\footins}{10pt}
\vspace{2\baselineskip}
\vspace{1\baselineskip}
\begin{quoting}
Processing is a free, open source programming language and environment used by students, artists, designers, architects, researchers and hobbyists for learning, prototyping, and production. Processing is developed by artists and designers as an alternative to proprietary software tools in the same domain. The project integrates a programming language, development environment, and teaching methodology into a unified structure for learning and exploration.\footnote{Casey Reas and Ben Fry, \emph{Processing: A Programming Handbook for Visual Designers and Artists} (Cambridge: MIT Press, 2007), xxi-xxii.}
@ -228,7 +230,7 @@ tabsize=3
Teaching programming with free software to media design students for years, I've resisted Processing as it has always seemed to me to embody a particular kind of solipsism of digital interactivity and graphics that I want my students to avoid.
\section{Design by numbers}
\newpage
\noindent
In the fall of 1996, John Maeda joined the MIT Media Lab to replace the recently deceased Muriel Cooper. Cooper was the first art director of the MIT Press, producing influential designs such as a 1969 catalogue of the Bauhaus and the iconic MIT Press logo, a Bauhaus-inspired stylised graphical rendering of the letters “mitp.” Cooper started the Visible Language Workshop, later one of the founding groups of the MIT Media Lab, to research the intersection of publishing, design, and computation.
@ -285,6 +287,7 @@ Processing sketches consist of (at least) two functions: \emph{setup} which is i
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/04_pbook.png}
}
\vspace{-1\baselineskip}
\end{figure}
\begin{quoting}
@ -358,18 +361,19 @@ ImageMagick is a command line tool, designed to be used via textual commands. Th
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/08_imbook_inside.png}
}
\vspace{\baselineskip}
\end{figure}
Salehi's book directly reflects the structure of ImageMagick, with chapters organised around various incorporated “tools”: convert, mogrify, composite, montage, identify, display, conjure. The examples are practical: creating logos, or adding captions or a border to an image. One example renders the word “Candy” with colourful stripes. Another series of examples duplicates and inverts the image and text of classical Persian poet Hafez to create a kind of playing card. Another example uses ImageMagick in conjunction with PHP and HTML to produce an online “e-card maker”: a sequence of commands is demonstrated to render the text “No More War” (in a dripping paint font), deform it, and project it onto the side of a chess piece.
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/09_imbook_flag.jpg}
}
\vspace{\baselineskip}
\end{figure}
\noindent
Salehi’s book directly reflects the structure of ImageMagick, with chapters organised around various incorporated “tools”: convert, mogrify, composite, montage, identify, display, conjure. The examples are practical: creating logos, or adding captions or a border to an image. One example renders the word “Candy” with colourful stripes. Another series of examples duplicates and inverts the image and text of classical Persian poet Hafez to create a kind of playing card. Another example uses ImageMagick in conjunction with PHP and HTML to produce an online “e-card maker”: a sequence of commands is demonstrated to render the text “No More War” (in a dripping paint font), deform it, and project it onto the side of a chess piece.
In another extended example, a flag is constructed in steps. Rather than approaching the project as drawing geometric forms on a canvas, Salehi uses the diversity of ImageMagick's manipulations, performing a series of commands whose textual names invoke a sense of physical construction: blocks of colour are skewed, sheared, cropped, flipped, flopped, and finally spliced (with “gravity” set to center). The approach creates a number of intermediate images, thus creating the digital equivalents of “cuttings” or leftover materials in the process.
By modifying the first step to use an image, \footnote{Image: \url{https://commons.wikimedia.org/wiki/File:Boris_Johnson_official_portrait_(cropped).jpg}, Ben Shread / Cabinet Office, UK Open Government Licence v3.0 (OGL v.3)} I produced the following (intermediate) results:
@ -377,24 +381,18 @@ By modifying the first step to use an image, \footnote{Image: \url{https://commo
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/10_background2.png}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/10_background2.png}
\hspace{6pt}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/11_img.png}
\hspace{6pt}
\includegraphics[height=6\baselineskip]{\imgdir /06_michael-images/grayscale/12_flag.png}
}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/11_img.png}
}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=8\baselineskip]{\imgdir /06_michael-images/grayscale/12_flag.png}
}
\end{figure}
\section{Constructivism and\\ the bricoleur}
\noindent
@ -405,27 +403,25 @@ In the 1920s, Russian avant-gardist El Lissitsky moved to Berlin and produced wo
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/13_forthevoice.png}
}
\caption*{\emph{For the Voice}, book designed by El Lissitzky. Image from the archive of Guttorm Guttormsgaard. Used with permission. \url{https://arkiv.guttormsgaardsarkiv.no/node/19/item/39}}
\caption*{\fontsize{8pt}{12pt}\selectfont \emph{For the Voice}, book designed by El Lissitzky. Image from the archive of Guttorm Guttormsgaard. Used with permission. \url{https://arkiv.guttormsgaardsarkiv.no/node/19/item/39}}
\vspace{\baselineskip}
\end{figure}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/14_mindstorms00.jpg}
}
\end{figure}
\begin{figure}[h!]
\vspace{12pt}
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/15_mindstorms01.jpg}
}
\vspace{12pt}
\end{figure}
\noindent
Constructivism is also the name given to the pedagogic project associated with Seymour Papert. In the 1970s, Papert co-developed a pedagogy for teaching children mathematics and programming based on the LOGO programming language. Part of the system was a virtual robotic turtle that could be programmed to draw figures. The system, known as Turtle graphics, had commands that directly addressed the “turtle” to draw shapes while moving: forward, turn left, turn right, pen up, pen down.
\begin{quoting}
@ -435,30 +431,34 @@ Constructivism is also the name given to the pedagogic project associated with S
\noindent
Papert described the pedagogic project of LOGO in book titled \emph{Mindstorms}. In a key example, Papert describes how students can be taught about circles by imagining (or better yet themselves enacting) the turtle repeatedly performing the sequence “go forward a little, turn a little.” He contrasts this with the formal equation of a circle (x\textsuperscript{2} + y\textsuperscript{2} = r\textsuperscript{2}) typically taught in an elementary school geometry class.\footnote{ Papert, \emph{Mindstorms}, 173.}
\begin{quoting}
TO CIRCLE REPEAT {[}FORWARD 1 RIGHT 1{]}
\end{quoting}
\begin{lstlisting}
TO CIRCLE REPEAT [FORWARD 1 RIGHT 1]
\end{lstlisting}
\begin{figure}[h!]
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/16_mindstorms-seq02.jpg}
}
\end{figure}
\begin{figure}[h!]
\vspace{12pt}
\centerline{
\includegraphics[height=16\baselineskip]{\imgdir /06_michael-images/grayscale/17_mindstorms-seq04.jpg}
}
\vspace{12pt}
\end{figure}
\noindent
In a powerful central visual sequence, \emph{Mindstorms} presents a series of illustrations showing the screen output of code alongside a running dialogue. The conversation starts with a proposition to draw a flower like one sketched on paper. First they consider what programs they might already have to make use of, in this case they have a procedure to draw a quarter circle. Through a series of steps, mistakes are made, plans are adjusted and retried, and happy accidents lead to discoveries (it's a bird!). In the process the “ends become means” and a new tool is put to use to create a garden, and then, incorporating the “bug,” a flock of flying birds.
\noindent
In Belgium, where I live “brico” is the French language equivalent to “DIY” and is often used in a derogatory sense to indicate that something is made in an amateurish way. Papert is borrowing the term from Claude Lévi-Strauss, who first used the term in an anthropological context hypothesising how “universal” knowledge might form from myth and fragmentary cultural knowledge.\footnote{ Claude Lévi-Strauss, “The Science of the Concrete,” in \emph{The Savage Mind} (Chicago: University of Chicago Press, 1966), Chapter 1.}
For Papert, bricolage exhibits a quality whereby informal methods not only appeal to “common sense” but also engage more profoundly with the materiality of the subject than would a formal approach. In the case of the circle, the “turtle” method is not only a way for the student to imagine the problem physically, it also relates to methods of differential calculus, something the algebraic formulation misses completely. In hacker circles, bricolage is evident in an approach of embracing “glue code” and “duct tape” methods, like the pipeline, that allow different systems to be “hacked” together to do useful (new) things.
\section{Misplaced concretism and a feminist method}
\section{Misplaced concretism and\\a feminist method}
\noindent
Alfred North Whitehead, writing on the sciences, established an influential idea of a “fallacy of misplaced concreteness.” The idea is that making abstractions, such as what happens when a particular phenomenon is named, is a simplification that works by suppressing “what appear to be irrelevant details.”\footnote{ Alfred North Whitehead, \emph{Science and the Modern World} (New York: Free Press, 1967), retrieved from Internet Archive, October 28, 2021, \url{https://archive.org/details/sciencemodernwor00alfr/page/52/mode/2up}.} In \emph{Media Ecologies}, Matthew Fuller extends this thinking to consider technical standards as “a material instantiation” of Whitehead's misplaced concreteness, and considers how technical devices through a process of \emph{objectification} “expect in advance the results that they obtain.”\footnote{ Matthew Fuller, \emph{Media Ecologies} (Cambridge: MIT Press, 2005), 127, 104.}
@ -477,10 +477,9 @@ She cites Donna Haraway, who wonders in \emph{A Cyborg Manifesto}:
\end{quoting}
\noindent
Star draws on a tradition of diverse feminist thinking through the “articulation of multiplicity, contradiction, and partiality, while standing in a politically situated, moral collective” to synthesise and propose what she calls the important attributes of a feminist method:
Star draws on a tradition of diverse feminist thinking through the “articulation of multiplicity, contradiction, and partiality, while standing in a politically situated, moral collective” to synthesise and propose what she calls the important attributes of a feminist method:\\
\begin{compactitem}
\def\labelenumi{\arabic{enumi}.}
\begin{compactitem}[$\bullet$]
\tightlist
\item
experiential and collective basis;
@ -491,7 +490,7 @@ Star draws on a tradition of diverse feminist thinking through the “articulati
\item
situated historicity with great attention to detail and specificity;
\item
the simultaneous application of all of these points.\footnote{ Leigh Star, “Misplaced Concretism and Concrete Situations, 148--149.}
the simultaneous application of all of these points.\footnote{ Leigh Star, “Misplaced Concretism and Concrete Situations, 148--149.}\\
\end{compactitem}
\noindent

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\textbf{Clara Balaguer} (Makati City, Pisces Metal Monkey) is a cultural worker and grey literature circulator. From 2010 to 2018, she articulated cultural programming with rural, peri-urban, and diasporic communities from the Philippines through the~\emph{OCD}, a residency space and social practice platform. In 2013, she co-founded Hardworking Goodlooking, a cottage industry publishing hauz interested in the material vernacular, collectivizing authorship, and the value of the error.~ Currently, she builds and publishes curriculums at BAK basis voor aktuele kunst as head of Civic Praxis (Community Portal); at Willem de Kooning Academy as research lecturer in Social Practices; at Piet Zwart Institute as a midwife for Experimental Publishing; and at Sandberg Institute as teacher at the Dirty Art Department. Frequently, she operates under collective or individual aliases that disclose her stewardship in any given project, the latest of which is To Be Determined: a transitional, migratory, neighborly structure of sleeper cells (Trojan horse networks) that activate--deactivate for leaking access to cultural capital.
\textbf{Manetta Berends} works with forms of networked publishing, situated software and collective infrastructures. She is a member of Varia, a member based organisation working on everyday technology in Rotterdam, and an educator at the master Experimental Publishing at the Piet Zwart Institute. \url{https://manettaberends.nl}
\textbf{Julie Boschat-Thorez} is a researcher, artist and educator whose work focuses on knowledge organisation systems and the stories which can be extracted from them. She primarily investigates mundane objects such as archives, collections, datasets or museums, to recover traces of their creators ideas and circumstances (for better or worse). She also has an overlapping practice of archiving with an interest for variability, circulation, community and access. She is a member of Varia, a Rotterdam based initiative which aims at developing critical understandings of the technologies that surround us. She teaches at the Willem de Kooning Academy.
\textbf{Ren Loren Britton} is a white trans* interdisciplinary artist and researcher tuning with practices of Critical Pedagogy, Trans*FeministTechno Science and Disability Justice. Playing with the queer potential of undoing norms they practice joyful accountability to matters of collaboration, access, Black Feminisms, instability and trans*politics. They love slowness, reading, following non-linear processes and experimenting towards greater accessibility.~Ren has presented work with multiple institutions including Transmediale (Berlin), ALT\_CPH Biennale (Copenhagen), Haus der Kulturen der Welt (Berlin), Constant (Brussels), Sonic Acts (Amsterdam), Kunsthalle Osnabrück (Osnabrück), Varia (Rotterdam), Rupert (Vilnius) and Martin Gropius Bau (Berlin). With Isabel Paehr as MELT they operate as an art-design duo, questioning how coloniality, climate change and technological developments are intertwined. To pursue these questions, MELT boils up insights from chemistry, crip technoscience and trans *feminism to study and set in motion transformative material-discursive processes. MELT is currently a Fellow with the project ACCESS SERVER at the Het Nieuew Instituut in Rotterdam, NL and an associate fellow with MELT's project Data for\ldots? (trans* and disabled lives) with the Digital Curation Institute at the University of Toronto, CA.
\textbf{Cristina Cochior} is a researcher and designer working in the Netherlands. With an interest in automation, situated software and peer to peer knowledge production, her work largely consists of investigations into the intimate bureaucracy of knowledge organisation systems and building collective, non-extractive digital infrastructures. She is a member of Varia and teaches at Willem de Kooning Academy.
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\textbf{Rosemary Grennan} is the co-director of MayDay Rooms, an archive and educational space in London which seeks to connect histories and documents of radicalism and resistance to contemporary struggle. She is also completing a PhD in Media Anthropology from University College London.
\textbf{Silvio Lorusso} is a writer, artist and designer based in Rotterdam, the Netherlands. In 2018 he published his first book entitled \emph{Entreprecariat}. He is an assistant professor and vice-director of the Centre for Other Worlds at the Lusófona University in Lisbon. Lorusso holds a Ph.D. in Design Sciences from the Iuav University of Venice.
\textbf{Cengiz Mengüç} is a graphic designer and visual artist interested in diasporic identity expressed through the vernacular visual culture and architecture of the everyday. His current practice moves between commissioned art and design work, street-level~advertising work and self-initiated projects, working mostly across the mediums of installation, print and publishing. Currently, he is developing new work based on his ongoing research. Cengiz Mengüç graduated from the ArtEZ Institute of the Arts with a Bachelor degree in graphic design and works and lives in Rotterdam.
\textbf{Michael Murtaugh} is a computer programmer who researches community databases, interactive documentaries and tools for new forms of online reading and writing. He contributes to projects such as the Institute for Computational Vandalism and Active Archives, is a member of Constant and involved in Piet Zwart Media Design where he teaches at the Experimental Publishing Masters course. \url{http://automatist.org/}
\textbf{Varia} is a small member-based organisation in Rotterdam (Charlois), focused on everyday technology. It uses the term everyday technology to break through the vision of old and new~technology, or smart and not so smart technology by looking more at the appropriateness of what~each technology does in a particular situation, while trying to understand whose everyday~is meant by the term, to not include one single~world view, but to acknowledge that everyone~engages with technology in a different way. \url{https://varia.zone}
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