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User:Zblace/sandbox

< User:Zblace

User:Zblace/sandbox/LGBTIqueerWORK + /HrWORK + /TechTests /misc

IMPORTANT


SAVE MensCup MEMBRANDT Constant (vzw)

FIX Talk:DeviantArt 

https://archive.org/details/@zblace SHA256 Sum of Postal Address If I need to prove my ownership of this account in the future, below is a SHA256SUM of my postal address.

kada ti se izvor ponavlja, dalje u u članku koristi [1] https://hr.wikipedia.org/wiki/Wikipedija:Navo%C4%91enje_izvora#Uporaba_izvora_na_vi%C5%A1e_mjesta_u_%C4%8Dlanku


/start /scraps /t&Tricks

/toReard/ESSAYS //Signpost/2020-11-29/Opinion#HoW Billioners rewrite Wikipedia // https://meta.wikimedia.org/wiki/Don%27t_vote_on_everything

content: /mi2 /Drugo more

know:

/OSes System76 Apache_Cordova Flutter_(software)

/MM FLOSS OpenShot

/OpenHardware Nokia_N900 > Nokia_N9 *(no keyboard) /related UBtouch + methods USB_dead_drop

Work with WMF+ =

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WiR 2020

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WiR2020appGKR

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Work on DiVersions project

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DiVersions#2019

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https://DiVersions.ConstantVzw.org/ DiVersions experiments with online collections of cultural institutions as sites for decolonial and intersectional practice. Inspired by the way versioning functions in networked software tools, seven interactive media installations and this publication explore how online collections can accommodate radically different, and sometimes opposing perspectives.

With contributions from: Rahel Aima, Anaïs Berck, Ž. Blaće, Cristina Cochior, Sarah Kaerts, Phil Langley, Marie Lécrivain, Nicolas Malevé, Elodie Mugrefya, Zoumana Meïté, Mia Melvær, Martino Morandi, Michael Murtaugh, Colm o'Neill, Kris Rutten, Amir Sarabadani, Femke Snelting, Saskia Willaert.

DiVersions is initiated by Constant and developed in partnership with: UGent - Department of Educational Studies, Werkplaats immaterieel erfgoed, VIAA/PACKED - Expertisecentrum Digitaal Erfgoed, RoSa - Kenniscentrum voor gender en feminisme.

info text: Z. Blace

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If we accept that #AnotherWorldIsPossible, maybe this aspiration should scale and render around us on multiple levels.

We can think of many manifestations of differences, for a variety of experiences. To render these differences, one should consider not only difference of information in content, but also its form and access points. Different versions of “truths” are not only different perspectives and arguments in the same system, but potentially different systems or models for seeing and doing the argumentation as well.

In the case of Wikipedia this could go even further. Even this free, open, collaboratively made and exemplary monumental digital commons project fails to accommodate different modes of (re)producing itself and therefore relating to different (sub)cultures. It has grown to a size of epic proportions that often hosts hegemonic aspirations and makes average Wikipedia editors have fairly notorious reputations for disciplining. Institutional-like protocols and armatures are built to sustain this encyclopedic work, which reduce its flexibility that was once essential for Wiki culture.

The Hawaiian word “Wiki” means “quick” and was initially used to describe web content development through spontaneous, organic and incremental web making; its structure would emerge from content accumulation and constant editing and refactoring. Ward Cunningham (author of the first WikiWikiWeb) was interested in tracking the number and locations of wiki page edits as a sociological experiment, and considered even the degradation of a wiki page as part of its process to stability. ‘There are those who give and those who take. You can tell by reading what they write.’ (Ward Cunningham, 2009)

The current state of Wikipedia as a platform leaves little space to imagine such non-formalized approaches and/or space for experimentation; the room for diverting from norms is super limited if it is even possible. Content conflicts are hidden under a single tab link and nothing on the front page hints at the impression of the state of potential contestation or even just web-making (power)dynamics.

Diff3r3ntVversionsArePOSSIBLE?!. points to these issues in explicit and implicit ways by considering queer perspectives as counter-normative positions that not only antagonistic, but also ridicule and eradicate the logic of a single point objectivity and its oppressive implications.

flyer: Pride parade

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“The current state of Wikipedia as a platform leaves little space to imaging... ...content conflicts are hidden under a single tab link and nothing on the front page hints at the impression of the state of contestation or just web-making (power) dynamics.” With the Diff3r3ntVversionsArePOSSIBLE?!. (work-in-progress for DiVersions 2019-2020) Z.Blace, points to these issues in ex/implicit ways by prototyping interfaces of wikimedia banners and developing counter strategies and arguments against reductive normalizing. https://en.wikipedia.org/wiki/User:Zblace/sandbox

Wikipedia article Pride parade is taken as a case study for its historic relevance in the 50 years of 1969 Stonewall riots. For this it is also very interesting to focus on representation of Riot vs. Parade issues inside of the article. Commonly found section on wikipages Controversy has no controversies of Pride Parade in itself as an event format, but only a note on how “controversial” anti-Israel group Queers Against Israeli Apartheid (QuAIA) in Toronto in 2011 stepped out of participation under the blackmail of major to not support event with them at all… rendering their opposition as marginal singular exception. Section Oppositions list more information, in many problematic ways, but also lists Toronto Pride as a much compromised!

In the Talk of the Article page you will notice much more, as well as that on the quality scale this article is rated with a banner B as: mostly complete and without major problems but requires some further work to reach good article standards... Article is the subject of a Wiki Education Foundation-supported course assignment until 17 Dec 2019...to follow up!


DiVersions#2017

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nGbK #2016

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History

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The nGbK was created in 1969 after the dissolution of the German Society of Fine Arts.[2] Unlike most German art associations, nGbK members themselves submit projects and then set up working groups. The working groups, which must consist of at least five persons, are approved and then dissolved after completion of the projects. This basic principle distinguishes this club from the other major German art associations, where usually a club board a curator calls and the members have no direct influence on the exhibition planning.

Before moving to its current headquarters in the Kreuzberg Oranienstraße 25, the seat or the exhibition space was at Tempelhofer Ufer 22.[3][4]

Structure

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  • President:[5]
    • Ingo Arend, Katrin Busch, Çağla İlk
  • Managing directors:
    • Lilian Engelmann

Office:

    • Wibke Behrens, Frank-Peter Harms, Katja Hübner, Isabelle Meiffert, Benita Piechaczek

Program

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nGbK exhibition program is well known for its political and social engagement, as well as for being decided on in direct democratic way through votes of members on annual assemblies.

2016

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  • 'Father Figures Are Hard To Find', 19 March - 1 May 2016 exhibition & events
  • 'No play - Feminist Training Camp', 21 May - 26 June 2016, publication
  • 'contesting/contexting SPORT 2016', 9 July - 28 August 2016, exhibition & events
  • 'ENE MENE MUH UND WELCHE STADT WILLST DU? - Contributions to the Berlin elections in the fall of 2016' 10 September - 3 October 2016, exhibiton, events & publications
  • 'ANIMAL LOVERS' - 15 October - 27 November 2016, exhibiton, events & publications
  • 'Necessità dei Volti - A Dialogical Procedure' - research project, documentation 2016
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References

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  1. ^ Cite error: The named reference ime izvora was invoked but never defined (see the help page).
  2. ^ Kolja Reichert: Mehr Demokratie malen. In: Der Tagesspiegel, 29. März 2010.
  3. ^ [1]
  4. ^ [2]
  5. ^ [3]

Category:German artist groups and collectives

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