[iDC] floss and brazil

[t]

a good example of a project that is documenting free software is 
http://www.estudiolivre.org
this for a year of voluntary work with media production tools
they are now giving little "bounties" so that people can document their 
investigations
it is impossible for a country such as brazil to think about telecenters 
running proprietary software
as the community gets larger, migration is exponential, even inside 
universities
but even more inside schools (all schools from são paulo city run on 
free software, for ex)
at the same time media activists open spaces to interact with public 
politics
http://colab.info/wiki/index.php/PaperIncommunicado
metareciclagem.org (spores of reclycled technology) and midiatatica.org, 
that hosts media activists and arts projects, is also made up of 
different spaces around the country.. creating telecenters with recycled 
and low-tech technologies

could the project below happen any other way? :)

xt

--------------------> english:
 >
 > Cooking Pure Data
 >
 > Blenders and Electric-Appliances of Collective Modelling
 >
 > Working with a shape of a group open to any kind of participation,
 > mediated only by the intersection of social and aesthetic searches,
 > which organize its actions by convergence of collective networks
 > mainly by Internet, the "Orquestra Organismo" group has a way of
 > production where the process of "solding speeches" is taken since the
 > beginning as the real "object" to be produced. A "product of actions
 > molding in time", where the own intentions of the interacting
 > individuals (as well as their function as catalysts of the
 > relationships) are the object "on scene", in search for equilibrium in
 > between group and their subjective dimension (beyond any artistic or
 > social analysis). Pieces that are interactively built and sculpted
 > with an involvement that works with ideas of mutation of meanings as
 > sooner as this action is perceived as part of a space, being molded by
 > institucionalizations like "music", "theather", "film", "galleries",
 > "bar", "home" or "streets"; but always reinforcing the lucid situation
 > that stimulated human relationships are more important than all those
 > generated "objects" and "signs".
 >
 > The purpose of "Cooking Pure Data" should be seen as a continuation of
 > Orquestra Organismo works on their most recent performances -
 > "Desafiatlux" and "A justa Razao aqui Delira" - and had its genesis at
 > the "Surface Tension at Curitiba <mailto:Tension at Curitiba 
<mailto:Tension at Curitiba>>". The idea is
 > that we live at an age of overloaded information and possibillities of
 > connection over networks formed by similar speeches that are beyond
 > territorial and linguistics border. By the other hand, the cartesian
 > and systematic organization of this DATA tends to be dissolved into
 > the space where it takes form for any kind of institucionalized
 > function (from arts to engineering; from activism to social theory).
 > Nevertheless, those flowing identities are touched by subjectivity
 > before they loose strenght. Through this process of molding to spaces
 > they will get contradictions and acquire an "institucional" meaning.
 > Our effort is for all those "DATA-processed-speeches" beeing perceived
 > as a chaotic dance of entities, into simbolic rituals, "cruelty
 > teathers" and aesthetics of direct action, leading the practices and
 > ethics to immediate perception of human dimension. This is the search
 > of those performances.
 >
 > In "Cooking Pure Data" we work in the kitchen of exhibition space,
 > which will be connected to other participants through Internet
 > anywhere in the planet. The kitchen incubates the antropological
 > concept of "Raw and Cooked" worked by Lèvi-Strauss: the creation of
 > ritual processes that marks the dialogic way which "raw" DATA that at
 > first was without "function", becomes able to assume (at the end of
 > the meeting) various meanings, as long it converges the intention of
 > "cooks". The kitchen should also be seen as a space where we always
 > get together in rituals of "feeding" (and all our process is all about
 > "feedback"). The aim is to build a metaphor of a kitchen as a space of
 > alchemy where dialethics boils the collectivity intentions and the
 > "starvation" (or gluttony) is the anxiety that bring us back to the
 > human dimension.
 >
 > The installation works this way:
 >
 > 1. The installation should be built in the kitchen of the exhibition
 > place, with drafts, drawings, annotations, personal audio/video
 > recordings, mainly objects brought from "home", included as
 > participants, the organizers and visitors who wish to interact. This
 > has to be done without turning the kitchen into a "gallery", the focus
 > is to collect material to generate the "DATA cooking". This procedure
 > may transform the kitchen into a common space to the participants, for
 > informal meetings that will try to bring them to a "temporary
 > autonomous zone" inside the space where data are "boiled".
 >
 > 2. Simultaneously to the place of exhibition, we intend to articulate
 > similar structures in various cities of Brazil: Curitiba, Belo
 > Horizonte, Sao Paulo, Rio de Janeiro, Salvador, Campinas, Belem, Porto
 > Alegre, Recife, Brasilia and Florianopolis and possibly another cities
 > in other contries. This action will be scheduled over Internet and its
 > process of articulation is also an important part of the "data recipe"
 > scope.
 >
 > 3. Deconstructioning the perception of "home", we will make music with
 > eletric appliances as blenders, vaccum cleaners, fans, multiprocessors
 > and others that should be painted as a canvas and coverd with drafts,
 > annotations, poetry and impressions about the actions. The appliances
 > should be trade between places and will stay in different kitchens.
 > This appliances will be controlled by participants remotely through a
 > website.
 >
 > 4. Cooking "Rituals" will be scheduled to same time, where
 > participants prepare food as the action is recorded in video, sound,
 > drawings, streamed throught internet, interacting with people doing
 > whatever they want in the space, recombining feedbacks of data from
 > other kitchen in the same time. This "feed-back" and mirroring of DATA
 > will cause the sensation of simultaneous presence and the kitchens
 > will become an only place passing through geographic borders taking
 > the repertoires as a common database for reality constructions. This
 > will influence direct action and relationships through this network.
 > The processes caused by the "kitchen" should also be registred and
 > reprocessed in new rituals and future ideas.
 >
 > 5. Season as you like and put it in the stove.
 >
 > 6. We stimulate the rythmic use of the kitchen, spoken words,
 > musicalization of cooking act. We ask for use of different languages
 > and accents as you cook this data. After the dinner, one should digest
 > the data and consume the consequent energy on direct actions on the
 > streets.
 >

Derek Holzer escreveu:

> Hi Adam and the list,
>
> and allow me to "de-lurk". My name is Derek Holzer, and although I've 
> met quite a few iDCers already, I guess I could sum myself up as  both 
> a sound/media artist and a freelance educator, giving workshops 
> specializing in the use of FLOSS tools for artists.
>
> adam wrote:
>
>> It seems to me that the real choker in the education system, 
>> preventing FLOSS from flourishing, is the university bureaucracy. 
>> Recently I have illicited
>> feedback on a proposal for a project to support design schools (and 
>> one one audio academy) to use FLOSS tools. Some of the feedback I got 
>> from educators was their
>> fear that educational institutions don't know how 'not to buy' 
>> software. How does a university budget for free tools? 
>
>
>
> This question comes up quite a bit in one of the developers' 
> communities I'm most involved in--the Pure Data community. Many people 
> feel it would not be unethical in the least to "charge" universities 
> and institutions for FLOSS applications if these institutions have 
> something to give. By actually putting something of their budget into 
> FLOSS, the universities still win out. They are supporting the 
> development of critical, relevant cultural projects as well as 
> investing in tools which the students can actually take home and use 
> both during and after their educational process. University computers 
> labs these days still tend to be underused mausoleums of expensive 
> soft and hardware for the simple reason that students have limited 
> access to them during their schooling and usually can't afford them 
> afterwards. The film and music departments at the University of 
> Milwaukee, where I lectured last week, have seriously taken up Pure 
> Data as an alternative to Max/MSP just so that students can actually 
> do their homework at home with it without paying expensive license fees.
>
> In a community-developed project such as PD, however, the other bigger 
> question is what to do with such institutional contributions. Although 
> the core parts of both Ardour and PD are written largely by single 
> individuals, the way these cores are expanded upon differ greatly. PD 
> has been greatly expanded by a developer community working almost 
> completely independently from the original author Miller S. Puckette, 
> while Ardour programmer Paul Davis keeps his contributors working very 
> close at hand. Add to this the fact that Puckette is a tenured 
> professor at UCSD, with PD existing as part of his regular academic 
> publishing cycle, while Davis supports Ardour privately via revenue 
> generated by his previous job building Amazon.com and you'll see that 
> the financial situation of almost each and every FLOSS tool can be 
> radically different.
>
> On the PD list, code "bounties" were suggested by some, where 
> programmers who could implement in-demand features would benefit from 
> any financial income. But I think Adam is much closer on target when 
> he points out that FLOSS is not usually lacking in features so much as 
> in documentation. I think documentation "bounties" might be one way to 
> handle the situation. The other might be to hire on some specialist 
> from the developer or user community of the project for such a period 
> of time as it takes to produce adequate documentation, which in turn 
> would benefit everyone.
>
> best,
> d.
>