diff --git a/Gemfile b/Gemfile index 7434b39d..bf081e77 100755 --- a/Gemfile +++ b/Gemfile @@ -1,2 +1,6 @@ source "https://rubygems.org" gem 'github-pages', group: :jekyll_plugins + +gem "jekyll", "~> 3.9" + +gem "webrick", "~> 1.8" diff --git a/Gemfile.lock b/Gemfile.lock index b601a527..6e82cd5e 100644 --- a/Gemfile.lock +++ b/Gemfile.lock @@ -1,248 +1,271 @@ GEM remote: https://rubygems.org/ specs: - activesupport (4.2.11.1) - i18n (~> 0.7) - minitest (~> 5.1) - thread_safe (~> 0.3, >= 0.3.4) - tzinfo (~> 1.1) - addressable (2.6.0) - public_suffix (>= 2.0.2, < 4.0) + activesupport (7.1.3.4) + base64 + bigdecimal + concurrent-ruby (~> 1.0, >= 1.0.2) + connection_pool (>= 2.2.5) + drb + i18n (>= 1.6, < 2) + minitest (>= 5.1) + mutex_m + tzinfo (~> 2.0) + addressable (2.8.7) + public_suffix (>= 2.0.2, < 7.0) + base64 (0.2.0) + bigdecimal (3.1.8) coffee-script (2.4.1) coffee-script-source execjs - coffee-script-source (1.11.1) + coffee-script-source (1.12.2) colorator (1.1.0) - commonmarker (0.17.13) - ruby-enum (~> 0.5) - concurrent-ruby (1.1.5) - dnsruby (1.61.2) - addressable (~> 2.5) - em-websocket (0.5.1) + commonmarker (0.23.10) + concurrent-ruby (1.3.3) + connection_pool (2.4.1) + dnsruby (1.72.1) + simpleidn (~> 0.2.1) + drb (2.2.1) + em-websocket (0.5.3) eventmachine (>= 0.12.9) - http_parser.rb (~> 0.6.0) - ethon (0.12.0) - ffi (>= 1.3.0) + http_parser.rb (~> 0) + ethon (0.16.0) + ffi (>= 1.15.0) eventmachine (1.2.7) - execjs (2.7.0) - faraday (0.15.4) - multipart-post (>= 1.2, < 3) - ffi (1.11.1) + execjs (2.9.1) + faraday (2.9.2) + faraday-net_http (>= 2.0, < 3.2) + faraday-net_http (3.1.0) + net-http + ffi (1.17.0-arm64-darwin) forwardable-extended (2.6.0) - gemoji (3.0.1) - github-pages (198) - activesupport (= 4.2.11.1) - github-pages-health-check (= 1.16.1) - jekyll (= 3.8.5) - jekyll-avatar (= 0.6.0) - jekyll-coffeescript (= 1.1.1) - jekyll-commonmark-ghpages (= 0.1.5) - jekyll-default-layout (= 0.1.4) - jekyll-feed (= 0.11.0) + gemoji (4.1.0) + github-pages (231) + github-pages-health-check (= 1.18.2) + jekyll (= 3.9.5) + jekyll-avatar (= 0.8.0) + jekyll-coffeescript (= 1.2.2) + jekyll-commonmark-ghpages (= 0.4.0) + jekyll-default-layout (= 0.1.5) + jekyll-feed (= 0.17.0) jekyll-gist (= 1.5.0) - jekyll-github-metadata (= 2.12.1) - jekyll-mentions (= 1.4.1) - jekyll-optional-front-matter (= 0.3.0) + jekyll-github-metadata (= 2.16.1) + jekyll-include-cache (= 0.2.1) + jekyll-mentions (= 1.6.0) + jekyll-optional-front-matter (= 0.3.2) jekyll-paginate (= 1.1.0) - jekyll-readme-index (= 0.2.0) - jekyll-redirect-from (= 0.14.0) - jekyll-relative-links (= 0.6.0) - jekyll-remote-theme (= 0.3.1) + jekyll-readme-index (= 0.3.0) + jekyll-redirect-from (= 0.16.0) + jekyll-relative-links (= 0.6.1) + jekyll-remote-theme (= 0.4.3) jekyll-sass-converter (= 1.5.2) - jekyll-seo-tag (= 2.5.0) - jekyll-sitemap (= 1.2.0) - jekyll-swiss (= 0.4.0) - jekyll-theme-architect (= 0.1.1) - jekyll-theme-cayman (= 0.1.1) - jekyll-theme-dinky (= 0.1.1) - jekyll-theme-hacker (= 0.1.1) - jekyll-theme-leap-day (= 0.1.1) - jekyll-theme-merlot (= 0.1.1) - jekyll-theme-midnight (= 0.1.1) - jekyll-theme-minimal (= 0.1.1) - jekyll-theme-modernist (= 0.1.1) - jekyll-theme-primer (= 0.5.3) - jekyll-theme-slate (= 0.1.1) - jekyll-theme-tactile (= 0.1.1) - jekyll-theme-time-machine (= 0.1.1) - jekyll-titles-from-headings (= 0.5.1) - jemoji (= 0.10.2) - kramdown (= 1.17.0) - liquid (= 4.0.0) - listen (= 3.1.5) + jekyll-seo-tag (= 2.8.0) + jekyll-sitemap (= 1.4.0) + jekyll-swiss (= 1.0.0) + jekyll-theme-architect (= 0.2.0) + jekyll-theme-cayman (= 0.2.0) + jekyll-theme-dinky (= 0.2.0) + jekyll-theme-hacker (= 0.2.0) + jekyll-theme-leap-day (= 0.2.0) + jekyll-theme-merlot (= 0.2.0) + jekyll-theme-midnight (= 0.2.0) + jekyll-theme-minimal (= 0.2.0) + jekyll-theme-modernist (= 0.2.0) + jekyll-theme-primer (= 0.6.0) + jekyll-theme-slate (= 0.2.0) + jekyll-theme-tactile (= 0.2.0) + jekyll-theme-time-machine (= 0.2.0) + jekyll-titles-from-headings (= 0.5.3) + jemoji (= 0.13.0) + kramdown (= 2.4.0) + kramdown-parser-gfm (= 1.1.0) + liquid (= 4.0.4) mercenary (~> 0.3) - minima (= 2.5.0) - nokogiri (>= 1.8.5, < 2.0) - rouge (= 2.2.1) + minima (= 2.5.1) + nokogiri (>= 1.13.6, < 2.0) + rouge (= 3.30.0) terminal-table (~> 1.4) - github-pages-health-check (1.16.1) + github-pages-health-check (1.18.2) addressable (~> 2.3) dnsruby (~> 1.60) - octokit (~> 4.0) - public_suffix (~> 3.0) + octokit (>= 4, < 8) + public_suffix (>= 3.0, < 6.0) typhoeus (~> 1.3) - html-pipeline (2.11.0) + html-pipeline (2.14.3) activesupport (>= 2) nokogiri (>= 1.4) - http_parser.rb (0.6.0) - i18n (0.9.5) + http_parser.rb (0.8.0) + i18n (1.14.5) concurrent-ruby (~> 1.0) - jekyll (3.8.5) + jekyll (3.9.5) addressable (~> 2.4) colorator (~> 1.0) em-websocket (~> 0.5) - i18n (~> 0.7) + i18n (>= 0.7, < 2) jekyll-sass-converter (~> 1.0) jekyll-watch (~> 2.0) - kramdown (~> 1.14) + kramdown (>= 1.17, < 3) liquid (~> 4.0) mercenary (~> 0.3.3) pathutil (~> 0.9) rouge (>= 1.7, < 4) safe_yaml (~> 1.0) - jekyll-avatar (0.6.0) - jekyll (~> 3.0) - jekyll-coffeescript (1.1.1) + jekyll-avatar (0.8.0) + jekyll (>= 3.0, < 5.0) + jekyll-coffeescript (1.2.2) coffee-script (~> 2.2) - coffee-script-source (~> 1.11.1) - jekyll-commonmark (1.3.1) - commonmarker (~> 0.14) + coffee-script-source (~> 1.12) + jekyll-commonmark (1.4.0) + commonmarker (~> 0.22) + jekyll-commonmark-ghpages (0.4.0) + commonmarker (~> 0.23.7) + jekyll (~> 3.9.0) + jekyll-commonmark (~> 1.4.0) + rouge (>= 2.0, < 5.0) + jekyll-default-layout (0.1.5) + jekyll (>= 3.0, < 5.0) + jekyll-feed (0.17.0) jekyll (>= 3.7, < 5.0) - 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jekyll-seo-tag (2.5.0) - jekyll (~> 3.3) - jekyll-sitemap (1.2.0) - jekyll (~> 3.3) - jekyll-swiss (0.4.0) - jekyll-theme-architect (0.1.1) - jekyll (~> 3.5) + jekyll-seo-tag (2.8.0) + jekyll (>= 3.8, < 5.0) + jekyll-sitemap (1.4.0) + jekyll (>= 3.7, < 5.0) + jekyll-swiss (1.0.0) + jekyll-theme-architect (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-cayman (0.1.1) - jekyll (~> 3.5) + jekyll-theme-cayman (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-dinky (0.1.1) - jekyll (~> 3.5) + jekyll-theme-dinky (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-hacker (0.1.1) - jekyll (~> 3.5) + jekyll-theme-hacker (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-leap-day (0.1.1) - jekyll (~> 3.5) + jekyll-theme-leap-day (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-merlot (0.1.1) - jekyll (~> 3.5) + jekyll-theme-merlot (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-midnight (0.1.1) - jekyll (~> 3.5) + jekyll-theme-midnight (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-minimal (0.1.1) - jekyll (~> 3.5) + jekyll-theme-minimal (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-modernist (0.1.1) - jekyll (~> 3.5) + jekyll-theme-modernist (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-primer (0.5.3) - jekyll (~> 3.5) + jekyll-theme-primer (0.6.0) + jekyll (> 3.5, < 5.0) jekyll-github-metadata (~> 2.9) jekyll-seo-tag (~> 2.0) - jekyll-theme-slate (0.1.1) - jekyll (~> 3.5) + jekyll-theme-slate (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-tactile (0.1.1) - jekyll (~> 3.5) + jekyll-theme-tactile (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-theme-time-machine (0.1.1) - jekyll (~> 3.5) + jekyll-theme-time-machine (0.2.0) + jekyll (> 3.5, < 5.0) jekyll-seo-tag (~> 2.0) - jekyll-titles-from-headings (0.5.1) - jekyll (~> 3.3) + jekyll-titles-from-headings (0.5.3) + jekyll (>= 3.3, < 5.0) jekyll-watch (2.2.1) listen (~> 3.0) - jemoji (0.10.2) - gemoji (~> 3.0) + jemoji (0.13.0) + gemoji (>= 3, < 5) html-pipeline (~> 2.2) - jekyll (~> 3.0) - kramdown (1.17.0) - liquid (4.0.0) - listen (3.1.5) - rb-fsevent (~> 0.9, >= 0.9.4) - rb-inotify (~> 0.9, >= 0.9.7) - ruby_dep (~> 1.2) + jekyll (>= 3.0, < 5.0) + kramdown (2.4.0) + rexml + kramdown-parser-gfm (1.1.0) + kramdown (~> 2.0) + liquid (4.0.4) + listen (3.9.0) + rb-fsevent (~> 0.10, >= 0.10.3) + rb-inotify (~> 0.9, >= 0.9.10) mercenary (0.3.6) - mini_portile2 (2.4.0) - minima (2.5.0) - jekyll (~> 3.5) + minima (2.5.1) + jekyll (>= 3.5, < 5.0) jekyll-feed (~> 0.9) jekyll-seo-tag (~> 2.1) - minitest (5.11.3) - multipart-post (2.1.1) - nokogiri (1.10.5) - mini_portile2 (~> 2.4.0) - octokit (4.14.0) - sawyer (~> 0.8.0, >= 0.5.3) + minitest (5.24.1) + mutex_m (0.2.0) + net-http (0.4.1) + uri + nokogiri (1.16.6-arm64-darwin) + racc (~> 1.4) + octokit (4.25.1) + faraday (>= 1, < 3) + sawyer (~> 0.9) pathutil (0.16.2) forwardable-extended (~> 2.6) - public_suffix (3.1.0) - rb-fsevent (0.10.3) - rb-inotify (0.10.0) + public_suffix (5.1.1) + racc (1.8.0) + rb-fsevent (0.11.2) + rb-inotify (0.11.1) ffi (~> 1.0) - rouge (2.2.1) - ruby-enum (0.7.2) - i18n - ruby_dep (1.5.0) - rubyzip (2.2.0) + rexml (3.3.1) + strscan + rouge (3.30.0) + rubyzip (2.3.2) safe_yaml (1.0.5) sass (3.7.4) sass-listen (~> 4.0.0) sass-listen (4.0.0) rb-fsevent (~> 0.9, >= 0.9.4) rb-inotify (~> 0.9, >= 0.9.7) - sawyer (0.8.2) + sawyer (0.9.2) addressable (>= 2.3.5) - faraday (> 0.8, < 2.0) + faraday (>= 0.17.3, < 3) + simpleidn (0.2.3) + strscan (3.1.0) terminal-table (1.8.0) unicode-display_width (~> 1.1, >= 1.1.1) - thread_safe (0.3.6) - typhoeus (1.3.1) + typhoeus (1.4.1) ethon (>= 0.9.0) - tzinfo (1.2.5) - thread_safe (~> 0.1) - unicode-display_width (1.6.0) + tzinfo (2.0.6) + concurrent-ruby (~> 1.0) + unicode-display_width (1.8.0) + uri (0.13.0) + webrick (1.8.1) PLATFORMS - ruby + arm64-darwin-21 DEPENDENCIES github-pages + jekyll (~> 3.9) + webrick (~> 1.8) BUNDLED WITH - 2.0.2 + 2.4.22 diff --git a/_posts/2024-6-30-ecological-futures-2024-kr.md b/_posts/2024-6-30-ecological-futures-2024-kr.md new file mode 100644 index 00000000..45ebe2f6 --- /dev/null +++ b/_posts/2024-6-30-ecological-futures-2024-kr.md @@ -0,0 +1,186 @@ +--- +title: "에콜로지컬 퓨쳐스" +layout: post + +# To set og:image: +# image: http://distributedweb.care/static/images/ecological-futures/ecological2024.png + +--- + + + + +![]({{ site.base-url }}/static/images/ecological-futures/ecological2024.png) + +에콜로지컬 퓨쳐스는 코펜하겐 기반 [rearc. institute](https://www.rearc.institute/)(리아크 인스티튜트) 퍼블릭 디스코스 프로그램의 일환으로 2024년 7월 19일에서 21일까지 서울대학교 파워플랜트에서 진행되는 국제 심포지움, 퍼포먼스, 전시이다. 에콜로지컬 퓨쳐스는 최태윤 기획, 언메이크랩, 김민아, 카자흐스탄 기반 Artcom Platform (아트콤 플랫폼) 협업으로 진행되며 도시, 기술, 환경의 다중미래적 관계를 탐구한다. + + +위치: 서울대학교 제1파워플랜트 68동 [지도](https://naver.me/xS8DXSjo) + +일정: 2024/7/19-21 + +- 7/19 워크숍과 퍼포먼스 +- 7/20 심포지움 +- 7/21 워크숍 + +사전 예약: [링크](https://docs.google.com/forms/d/e/1FAIpQLSfhWf7Sq2v3GzJYDpeZpdrWXMl5gsxUsflOU9t2UCsQ0_55Jg/viewform) (7/5 공개 예약 시작) + +각 행사 참가비: 1만원 + +문의: studio@taeyoonchoi.com + +주최: 리아크 인스티튜트 rearc. institute [웹사이트](https://www.rearc.institute/) + +햡력: 서울대학교 문화예술원/ 제1 파워플랜트 68동 [웹사이트](https://culture.snu.ac.kr/) + + +## 7/19 장소와 우리. 워크숍 + +![]({{ site.base-url }}/static/images/ecological-futures/meine.jpg) + + +7/19 3-5PM 아트콤 플랫폼 워크숍 Artcom Platform Workshop + +장소들과 우리. Places and Us. + +장소들과 우리.는 현존과 움직임을 인지하여 우리의 정체성, 우리가 생활하는 장소들과 연결된 느낌의 관계에 집중한다. 이를 통해 우리가 머무는 장소들과 우리 자신의 관계를 파악한다. +이 워크숍은 2021년 아트 콜라이더 스쿨의 프로젝트 중 하나인 베인 Beine (보다, 묘사하다)의 일부이다. 베인은 많은 사람들이 발걸음 하지 않고, 기록하지 않는 지방의 학교에서 할 수 있는 창의적 활동이다. 예술 창작, 지역 고유의 지식과 서사를 나누고, 과거와 현재 그리고 미래를 상상한다. 이 워크숍은 우리가 존재하는 공간에 관심을 갖고, 공동체를 만들고, 자신에 대해 알게 되고, 새로운 질문과 해답을 찾는다. 워크숍에서는 파워플랜트 작은 뷰파인더를 사용해 주변 공간을 탐색하고, 바로 보이지 않는 것들을 캡쳐한다. 함께 수집한 이미지들을 모아 지도를 만들며 대화하여 참가자들간의 연대를 시도한다. + +* 영어 진행, 영-한 순차 통역 +* 참가비 1만원 + + +## 7/19 퍼포먼스 + + +![]({{ site.base-url }}/static/images/ecological-futures/resister-korea-performance.png) + +7/19 7-9 PM 에콜로지컬 퓨쳐스 퍼포먼스 Ecological Futures Performance + + +### 김민아 / Mina Kim + +공연 제목: Unstable Play (불안정한 연주) +‘불안정한 연주’는 전자 쓰레기 악기인 ‘Playful Obsolescence’를 연주하는 퍼포먼스 입다. 전자 쓰레기 악기에서 연주되는 소리들은 매우 거칠고, 불안정합니다. 이 불안정한 소리들을, 죽고 가치를 잃어버린 전자 기기들, 그리고 모든 버려진 존재들을 위해 연주한다. + +### Y2K92 + 최태윤 / Y2K92 + Taeyoon Choi + +"무정형의, 장르를 규정할 수 없는" 음악을 만드는 Y2K92 지빈과 시모, 코드와 드로잉 등을 활용한 최태윤의 영상 협업이다. 2021년 가든.로컬의 음악 작업을 시작으로 다양한 교류를 이어온 세명이 에콜로지컬 퓨쳐스 주제에 맞춰 새롭게 시도하는 퍼포먼스이다. + +### 레지스터 코리아 / Re#sister Korea (김민아/ 김수진/ 손윤원/ 박지수/ 문수현/ 루나) + +공연 제목: Liquid Bodies +2018년 네덜란드 로테르담에 있는 WORM의 전자음악 스튜디오를 중심으로 결성된 된 Re#sister(레지스터)는 사운드 또는 전자음악에 관심이 있는 퀴어 혹은 여성들이 음악을 만들고 서로 도우며 함께 배우는 모임이다. 2022년 3월, 레지스터의 한국 지부인 Re#sister Korea(레지스터 코리아)가 서울에서 결성되었고 정기적인 모임(Plug-In)을 통해서 음악과 예술, 창작에 대한 교류를 이어오고 있다. + +퍼포먼스 〈Liquid Bodies〉는 고정적이지 않고, 끊임없이 변화하고, 움직이며 흘러가는 신체에 대한 감각을 사운드와 비주얼, 신체와 오브제의 움직임으로 표현하는 퍼포먼스다. 이러한 유동성(liquidity)은 여성, 퀴어, 논바이너리의 신체를 가진 레지스터 코리아의 작업과 활동방식을 설명할 수 있는 단어이기도 하다. +실험적인 사운드에 관심을 가지고 함께 모여 즉흥 연주(jam)를 하는 것은 레지스터 코리아의 핵심적인 정체성이라 할 수 있다. 멤버들이 각기 다른 정체성과 작업 방식을 가지고 있는 만큼, 이들이 소리를 감각하는 방식 역시 다채롭다. 전자음악과 어쿠스틱 연주, 그림 그리기와 영상 매핑, 목소리와 몸의 움직임은 한 공간에 모여 소리를 만들고, 소리를 감각하며, 소리에 대한 경험을 나눈다. 자유롭게 흩어지고 모이며 흘러가는 몸들은 유연하지만 강인하며, 종잡을 수 없지만 에너지가 넘친다. 레지스터 코리아의 퍼포먼스는 구체적으로 짜인 서사보다는 예측 불가능하게 흘러가는 유동성을 따르며, 관객들을 ‘흐르는 몸들’과 함께 하기를 초대한다. + +* 7-9시 퍼포먼스 참가비 1만원 + +## 7/20 심포지움 + + + +![]({{ site.base-url }}/static/images/ecological-futures/FINAL-Taeyoon-Choi-3.jpeg) + +7/20 1-6 PM + +### 최태윤 (Taeyoon Choi)/ 녹색 유토피아 +스마트시티, 신도시, 식민주의, 그린워싱에 대한 이야기. 빅데이터, AI라는 새로운 얼굴을 한 기술관료주의와 기술만능주의 그리고 글로벌 사우스의 현실을 기만하는 그린워싱을 볼때마다 부들부들 떨고, 끝나지 않는 식민주의와 자본주의 파라다임에 지루함을 느낀다. 성장 중심의 기술 문화가 아닌 반성장(degrowth), 탈성장(post-growth), 상호의존과 연대를 위한 예술, 기술 공동체를 제안한다. + +### 언메이크 랩 (Unmake Lab)/ 미래 없는 예측 +이 토크에서는 개발주의가 남긴 ‘일반 자연’의 흔적을 둘러보며 생태적 인과성과 기술의 예측성 을 연결한다. 그리고 우리가 점점 감각할 수 없는 존재들을 기계 학습 실험과 필드 트립 그리고 사변적인 이야기들을 엮어 이야기 한다. 우리의 손에서 미끄러져 내려가는 이 ‘미래 없는 예측’의 감각을 우리는 어떻게 불러볼 수 있을까. + +### 아트콤 플랫폼 (Artcom Platform)/ 발하슈 돌보기 +예술과 과학을 통해 환경과 기후 정의를 향한 공동체 만들기. 아트콤 플랫폼은 발하슈 호수(Lake Balkhash)의 생태계를 중심으로 공동의 돌봄을 위한 열린 시도를 진행한다. 인류세의 환경적, 사회적, 경제적, 기후적 위기를 마주한 지역 주민들과 공간들의 역사, 문화, 생태와 환경을 보호하고 지역적 지식을 기록하여 발하슈 호수 지역과 중앙 아시아의 지속가능한 미래를 만든다. 다학제적 교육 프로그램, 참여적 예술 전시와 예술가의 사회 참여와 풀뿌리 연대를 통해 환경과 기후 정의를 실천한다. + +### 김민아 (Mina Kim)/ 디지털 기술의 오염을 감각하기 + +디지털 기술은 ‘친환경’ 일까? 디지털 기술로 친환경, 녹색 미래를 만들어낼 수 있을까? 아티스트 김민아는 예술-리서치와 작업들을 통해 디지털 기술 발전의 깨끗하고 매끈하고 미래적인 이미지 뒤에 가려져 있는 폐기물, 탄소 배출, 그리고 오염의 문제들을 들여다 본다. 작가는 대담을 통해 인공 지능, 스마트폰, 소셜 미디어와 같은 현재 우리 사회의 디지털 기술 발전과 친환경의 모순적인 관계를 살펴보고, 디지털 기술이 만들어내는 오염을 감각해보기를 제안한다. + + +* 최태윤, 언메이크 랩, 김민아는 한국어 발표, 아특콤 플랫폼은 영어 발표와 한국어 자막 제공, Q&A는 한-영 순차 통역 제공 +* 1-6시 심포지움 참가비 1만원 +* [언덕](https://www.instagram.com/abandoned.sandwich/)(아티스트 해민해)의 비건 샌드위치 사전 주문과 현장 구입 가능 + + + +### 7/21 데이터 구름을 쫓아 + +![]({{ site.base-url }}/static/images/ecological-futures/data-cloud-1.jpg) + +7/21 1-3 PM +데이터의 구름을 쫓아 - 함께 읽기 + +언메이크 랩(Unmake Lab) + + +이 리딩 그룹에서는 기술과 함께 생성되는 대표적인 비장소들 - 데이터센터와 스마트시티를 중심에 두고 이야기 나눕니다. 물질적 장소임에도 불구하고 감각하기 어려운 연산적 토대를 가진 이곳들은 기존의 전통적인 장소와는 다른 질서와 영향력을 가지고 있습니다. 리딩 모임에서는 이 기술적 장소들을 사회적, 문화적, 생태적 맥락에서 살펴보고, 이 장소를 둘러싼 충돌을 이야기 해봅니다. 그리고 이 기술적 장소는 인간/비인간과의 관계 속에서 어떤 위치를 구축하는지 논의해 봅니다. + +* 한국어 진행 +* 1-3시 함께 읽기 참가비 1만원 + +### 7/21 전자폐기물로 악기 만들기 + +![]({{ site.base-url }}/static/images/ecological-futures/mina-workshop.jpg) + +7/21 4-6 PM 전자폐기물로 악기 만들기 DIY E-Waste Synthesizer + +김민아(Mina Kim) + + +‘전자쓰레기로 악기 만들기’는 오래되서 사용하지 못하거나 고장나서 버려지는 전자폐기물(e-waste)를 전자악기로 새롭게 탈바꿈시켜보는 악기 제작 워크숍 이다. 워크숍에서는 가장 기본적인 회로인 ‘오실레이터’를 활용하여 아날로그 신시사이저를 만들고, 참여자들이 각자 가져온 전자폐기물을 연결하여 나만의 개성 있는 전자폐기물 악기를 완성하여 연주해 볼 것 이다. 워크숍을 통해 디지털 사회에서 끊임 없이 발생하는 전자폐기물 문제를 함께 돌아보고, 예술 활동을 통해 전자쓰레기 문제를 대하는 새로운 방법들을 함께 고민해 본다. + +* 워크숍에 참여하기 위해서는 사전 지식이나 기술이 전혀 필요하지 않다 +* 참여자들은 각자 고장난 휴대폰, 리모컨, 오디오 부품, 컴퓨터 부품과 같은 전자폐기물을 직접 가져오시길 추천한다 +* 4-6시 참가비 1만원 +* 한국어 진행 + + + + + +# 네트워크 소개 + +## 최태윤 Taeyoon Choi + + +![]({{ site.base-url }}/static/images/ecological-futures/taeyoon-profile.jpg) + +최태윤은 미술 작가이자 교육자로 활동한다. 미술 대학과 공대를 다녔고, 엑티비즘과 커뮤니티 참여에 관심이 많았다. 2013년 뉴욕 시적연산학교 School for Poetic Computation을 공동 설립하고 7년간 예술, 코딩, 사회 참여에 대한 수업과 프로젝트를 계획했다. 연세대학교, 댄버대학교 등에서 강의했고 다수의 미디어아트 기관과 프로젝트에 참여했다. 하지만 예술과 기술의 만남이라는 얄팍한 유토피아 서사가 불편하고 반짝거리는 미디어아트, 스팩터클을 볼때마다 냉소를 느끼고, 대안적인 창작과 실천을 추구한다. 현재 서울 종로구 행촌동에 포에버 갤러리를 운영하며 접근성과 실험성을 함께 실천하고, 에콜로지컬 퓨쳐스(Ecological Futures)라는 프로젝트를 준비중이다. 7월 19-21 서울대학교 파워플랜트에서 첫 심포지움, 퍼포먼스, 전시를 선보일 것이다. [웹사이트](https://taeyoonchoi.com) + +## 언메이크 랩 Unmake Lab + + +![]({{ site.base-url }}/static/images/ecological-futures/unmake-profile.jpg) + +언메이크랩은 기계의 인식 작용을 전유해 알고리즘의 집착을 아이러니, 우화, 유머로 바꾸는 작업을 한다. 특히 발전주의 역사와 기계 학습의 추출주의를 서로 겹쳐 현재의 사회문화, 생태적 상황을 드러내는 것에 관심이 있다. 최근에는 데이터셋, 컴퓨터 비전, 생성 AI의 예측성을 '일반자연'이라는 개념과 함께 놓고, 그 사이에서 드러나는 인간중심적 문화와 신식민성, 생태적 재난의 문제를 이야기 하고 있다. 기술 사회를 이해하는 교육 활동을 주요 방법론으로 삼고 있기도 하며, 포킹룸 등의 활동에 참여해 담론과 연구 활동을 하고 있다. [웹사이트](https://en.unmakelab.org/) + +## 아트콤 플랫폼 Artcom Platform + + + +![]({{ site.base-url }}/static/images/ecological-futures/artcom-group.jpg) + +아트콤 플랫폼은 현대미술, 커뮤니티 아트, 사회 참여 플랫폼으로서 집단기억, 문화, 환경을 중심으로 공동체 만들기를 실천하고, 카자흐스탄과 중앙 아시아의 지속가능한 미래를 함께 돌본다. 사회-문화적 혁신을 위한 예술과 지식 생산에 집중하며 환경과 기후 정의를 위한 교육 프로그램, 참여 예술, 다학제적 연구를 수행한다. 이러한 활동은 풀뿌리 연대, 노마드 문화, 탈식민지적인 접근, 교차성 페미니즘과 소비에트 연방 시절 상실된 카자흐스탄 유목 문화 전통과 단절된 세대간 교류를 회복하기 위해 다세대간 신뢰 만들기를 시도한다. 아트콤은 다양한 형태와 경험을 통한 ‘함께 하기'와 ‘함께 만들기'를 중요하게 생각한다. 아트콤 커뮤니티는 예술과 일상의 경계두지 않고 다른 커뮤니티와 영역의 사람들과 교류를 중요하게 생각한다. [웹사이트](https://artcomplatform.com/) + +## 김민아 Mina Kim + +![]({{ site.base-url }}/static/images/ecological-futures/mina-perform.png) + +김민아는 미디어아티스트이자 예술-연구자로서 한국과 네덜란드를 오가며 작업을 발표해왔으며, 현재는 서울을 기반으로 활동하고 있다. 디지털 기술 발전의 뒤에 남겨지는 것들에 관심이 많고, 디지털의 잔해와 인간 삶이 공존할 수 있는 방법을 예술의 장을 통해 연구하고 있다. 현재는 디지털 기술을 이루는 기반시설들과 환경의 관계에 대한 예술-연구를 진행 중이다. 설치, 영상, 웹, 사운드, 퍼포먼스, 워크숍, 진(zine) 등 다양한 매체와 표현방식을 통해 작업을 발표한다. 비타미나(Vitamina)라는 이름으로 사운드 작업을 하며, 다양한 소리들을 실험하며 함께 놀고 배우는 데 관심 있는 여성과 퀴어를 위한 커뮤니티인 ‘레지스터 한국(Re#sister Korea)’ 활동을 2022년부터 이끌어 오고 있다. [웹사이트](https://mina-vitamina.net/) + + +# 예약 정보 + +사전 예약: [링크](https://docs.google.com/forms/d/e/1FAIpQLSfhWf7Sq2v3GzJYDpeZpdrWXMl5gsxUsflOU9t2UCsQ0_55Jg/viewform) (7/5 공개 예약 시작) + +각 행사 참가비: 1만원 + +문의: studio@taeyoonchoi.com + +리아크 인스티튜트 rearc. institute [웹사이트](https://www.rearc.institute/) + +Network for Ecological Futures is an initiative of the Public Discourse program at rearc.institute + + diff --git a/_posts/2024-6-30-ecological-futures-kr.md b/_posts/2024-6-30-ecological-futures-kr.md deleted file mode 100644 index 33693041..00000000 --- a/_posts/2024-6-30-ecological-futures-kr.md +++ /dev/null @@ -1,64 +0,0 @@ ---- -title: "에콜로지컬 퓨쳐스" -layout: post - -# To set og:image: -# image: http://distributedweb.care/static/images/air/p2pberlin.png - ---- - -- December 10, 2022 - -- Hardenbergstraße 19, 10623 Berlin, Germany - - A public event by the P2P Residency - Distributed Web of Care. The event will include free skillshares on handcrafted websites, tech zines, live coding, alternative social networking protocols, artist talks led by the participants of P2P Residency. Distributed Web of Care is a collaboration initiated by Taeyoon Choi which imagines the future of the internet and what care means for a technologically-oriented future. The project focuses on personhood in relation to accessibility, identity, and the environment, with the intention of creating a distributed future that’s built with trust and care. With C/O Berlin, P2P Residency - Distributed Web of Care invited practitioners from Asia, North America and Europe to engage in a peer-to-peer collaboration for three months. Some of the participants will be onsite in Berlin to lead more collaborations, share educational resources and build community. - -2022 P2P Residency participants include Max Fowler, Jake Advincula, Nami Kim, E.L. Guerrero, Bianca Aguilar, Sam Griffith, Vivian Chan, Kelsey Chen, Su Yu Hsin, Rachel Chak, Alessandro Longo, Alice Yuan Zhang, Riley Wong, Natalee Decker - -![]({{ site.base-url }}/static/images/air/p2pberlin.png) - - -- [C/O Digital Festival](https://co-digital.org.hato.dev/en/events/workshops-p2p) -- [P2P Residency: Distributed Web of Care](https://co-digital.org/en/programs/distributed-web-of-care) - -# Timeline - -- 12-1pm Welcome and introduction by Taeyoon and remote presentations -- 1-1:30pm Performative warm-up by Yuhsin Su -- 1:30-2pm Break -- 2-4pm Thank You, Garden by Nami Kim and E.L. Guerrero -- 4-5pm Memories from the Latent Space by Alessandro Longo and Anna Fasolato -- 5-5:30pm Break -- 5:30-6:30pm Mini exhibition and feedback session -- 6:30-7pm Mediation by Vivial Chan - -[Please complete this registration](https://forms.gle/AVKsB3dtNuPVjq889) -You are encouraged to bring your laptop to participate in technical workshops. - -# Event description - -## Performative warm-up Yuhsin Su - -We will have a performative warm-up session departing from our laptop screen and camera. We will use our bodies to explore the border of the technical framing of our virtual presence on the screen. Accompany by some little thought exercises, we will recalibrate the watery imaginaries of digital communication networks. - -## Thank You, Garden by Nami Kim and E.L. Guerrero - -Thank You, Garden is a workshop and collaborative webzine curated by P2P Distributed Web of Care residents Nami and Eloisa for the C/O Digital Festival in Berlin. -Answering the urgency and desire for a decentralised, more caring and intimate internet, the zine manifests a communal web garden where the artists share their gratitude to their hosts and fellow residents for holding a warm, collective space. -The zine will feature projects of the residents and hosts, as well as Thank You letters to each other. In the workshop, the artists will integrate HTML, CSS, and JavaScript-based live coding into the zine. -Nami is a web publisher who attempts to embrace daily sentiments in the digital interface. She publishes an experimental web page and an essay in her zine platform User Sentimental eXperience. -Eloisa is a media + software artist and developer who works with identity, memory, and nostalgia in physical and virtual spaces. She is interested in the handmade web and alternative ways of mark-making. -(The workshop’s title is taken from the children’s book, “Thank You, Garden” by Liz Garton Scanlon, that celebrates the act of growing and cultivating gardens as a community.) - -## Memories from the Latent Space by Alessandro Longo and Anna Fasolato -Memories from the Latent Space is a guessing game that uses AI technologies to stimulate playful and insightful considerations around the future of our digital society. Starting with a set of quotes from different authors that touch on the topic of C/O Digital Festival and the P2P Residency, each player selects a quote and then types an inspired prompt - a textual input - into the model interface. When every player has created the image, the real game will start: each participant will try to guess to which quote the image is inspired, discussing the reasons and maybe speculating on the quote itself. If nobody guessed, the creator of the image can intervene with a personal explanation about their personal view on the connection between the image and the sentence and the reasons behind the quote’s choice. The game is also a way to explore the Latent Space of generative models, where words and images got connected in unpredictable ways, just remotely similar to human reasoning. - -## this is a safe space: therapeutic art session by Vivian Chan - -The day will end with a therapeutic art session – this is a safe space. We will use mindfulness-based practice and art to clear the space and ground your bodymind. After a day of learning, connecting, and sharing with people and the digital world, it is important to take some time to check in with your mind, body and feelings with curiosity, empathy, and imagination. - - -## Registration - -[Please complete this registration](https://forms.gle/AVKsB3dtNuPVjq889) -You are encouraged to bring your laptop to participate in technical workshops. diff --git a/_site/404.html b/_site/404.html index b6fd88e3..3b40ff36 100644 --- a/_site/404.html +++ b/_site/404.html @@ -16,9 +16,9 @@ - + 404 | Distributed Web of Care - + @@ -26,8 +26,11 @@ + + + +{"@context":"https://schema.org","@type":"WebPage","description":"DWC","headline":"404","url":"http://localhost:4000/404.html"} @@ -51,6 +54,20 @@

-<ul> - <li><a href="https://www.scuttlebutt.nz/">Secure Scuttlebutt</a>(SSB)</li> - <li>Friendly <a href="https://ssb-landing.netlify.com/">new site</a></li> - <li>How-to Demonstrations</li> - <li><a href="https://www.scuttlebutt.nz/principles/">Principles</a>: “Environment reflecting Technology reflecting Community reflecting Society.”</li> - <li><a href="https://www.scuttlebutt.nz/concepts/">Network Topology</a>: “it maps a the social network on to a computer network that is essentially the same topology! that is, the connections between humans maps approximately to the the connections between computers. if you follow someone, you really actually follow them at the data layer.”</li> -</ul> +

A public event by the P2P Residency - Distributed Web of Care. The event will include free skillshares on handcrafted websites, tech zines, live coding, alternative social networking protocols, artist talks led by the participants of P2P Residency. Distributed Web of Care is a collaboration initiated by Taeyoon Choi which imagines the future of the internet and what care means for a technologically-oriented future. The project focuses on personhood in relation to accessibility, identity, and the environment, with the intention of creating a distributed future that’s built with trust and care. With C/O Berlin, P2P Residency - Distributed Web of Care invited practitioners from Asia, North America and Europe to engage in a peer-to-peer collaboration for three months. Some of the participants will be onsite in Berlin to lead more collaborations, share educational resources and build community.

-<p><em>SSB concepts and terms</em></p> +

2022 P2P Residency participants include Max Fowler, Jake Advincula, Nami Kim, E.L. Guerrero, Bianca Aguilar, Sam Griffith, Vivian Chan, Kelsey Chen, Su Yu Hsin, Rachel Chak, Alessandro Longo, Alice Yuan Zhang, Riley Wong, Natalee Decker

-<ul> - <li><a href="https://www.scuttlebutt.nz/concepts/identity">Identity</a>: “The private key is your secret not to be shared with anyone. The public key is used as your identifier.”</li> - <li>Local first: “offline first” Peer to Peer protocol</li> - <li><a href="https://www.scuttlebutt.nz/concepts/feed">Feed</a>: “A feed is a signed append-only sequence of messages. Each identity has exactly one feed.”</li> - <li>Append-only log: Once you publish, you can’t edit or delete</li> - <li>Global <a href="https://www.scuttlebutt.nz/concepts/gossip">Gossip</a> Network: <a href="https://en.wikipedia.org/wiki/Gossip_protocol">Gossip protocol</a></li> -</ul> +

-<p><img src="https://d33wubrfki0l68.cloudfront.net/4ec9ab624bc94d3829331cacc850c6d78a4ad6b2/01f43/assets/gossip-graph2.png" alt="" /></p> + -<ul> - <li>What actually happens?:<a href="https://ssbc.github.io/scuttlebutt-protocol-guide/">Protocol guide</a></li> - <li>Client: <a href="https://ahdinosaur.github.io/patchwork-downloader/">Patchwork</a> and <a href="https://github.com/ssbc/patchbay">Patchbay</a>, what are the differences?</li> - <li>Friend hops: Show hops option in Patchbay</li> - <li><a href="https://www.scuttlebutt.nz/concepts/pub">Pub</a>: ‘Always-online friend,’ SSB on a server which you can follow to connect with friends remotely</li> - <li>SSB Community: <a href="https://one.camp.scuttlebutt.nz/">Scuttle Camp</a></li> - <li>Conversations on SSB: A reading group about ‘White fragility,’ discussion about ‘Decolonizing technology,’ a channel about ‘Vegan junkfood’ and etc</li> - <li>Creative projects: Scuttlebooth</li> -</ul> +

Timeline

-<p><br /> -<img src="http://distributedweb.care/static/images/wyfy/ssb.png" alt="" /> -<br /></p> + -<h3 id="5-qtpoc-perspectives">5. QTPOC perspectives</h3> +

Please complete this registration +You are encouraged to bring your laptop to participate in technical workshops.

-<ul> - <li>A conversation about conflict of needs: Preservation of privacy and intimacy versus Openness and inclusivity</li> - <li>Abuse, misuse, harassment scenarios: White supremacy, hate speech and toxic masculine behaviors</li> - <li>Decolonizing the internet</li> - <li>Honoring the indigeneous and traditional communities, land and the environment</li> - <li>Deaf and Disabled rights on the Decentralized web</li> -</ul> +

Event description

-<p><br /></p> +

Performative warm-up Yuhsin Su

-<h3 id="6-critical-perspectives">6. Critical perspectives</h3> -<ul> - <li>Corporate appropriations and re-centralization</li> - <li>“Decentralization is not the goal. Orthogonality of Data, Transport, Identity ‘not used to capture each other, they are 90 degrees from each other’ for Information freedom and user agency. For a sense of self and privacy” - Peter Wang’s <a href="https://www.youtube.com/watch?time_continue=1314&amp;v=-z47R9wN5SQ">talk</a> at the DWEB Camp</li> - <li>Military contracts: Brooklyn Start Up <a href="https://gotennamesh.com/products/mesh">GoTenna</a> lands a <a href="https://www.usaspending.gov/#/keyword_search/gotenna">contract</a> with the Department of Homeland Security, U.S. Customs and Border Protection</li> -</ul> +

We will have a performative warm-up session departing from our laptop screen and camera. We will use our bodies to explore the border of the technical framing of our virtual presence on the screen. Accompany by some little thought exercises, we will recalibrate the watery imaginaries of digital communication networks.

-<p><br /></p> +

Thank You, Garden by Nami Kim and E.L. Guerrero

-<h3 id="7-group-discussion">7. Group discussion</h3> +

Thank You, Garden is a workshop and collaborative webzine curated by P2P Distributed Web of Care residents Nami and Eloisa for the C/O Digital Festival in Berlin. +Answering the urgency and desire for a decentralised, more caring and intimate internet, the zine manifests a communal web garden where the artists share their gratitude to their hosts and fellow residents for holding a warm, collective space. +The zine will feature projects of the residents and hosts, as well as Thank You letters to each other. In the workshop, the artists will integrate HTML, CSS, and JavaScript-based live coding into the zine. +Nami is a web publisher who attempts to embrace daily sentiments in the digital interface. She publishes an experimental web page and an essay in her zine platform User Sentimental eXperience. +Eloisa is a media + software artist and developer who works with identity, memory, and nostalgia in physical and virtual spaces. She is interested in the handmade web and alternative ways of mark-making. +(The workshop’s title is taken from the children’s book, “Thank You, Garden” by Liz Garton Scanlon, that celebrates the act of growing and cultivating gardens as a community.)

-<ul> - <li>QTPOC safe space on Decentralized Web</li> - <li>Code of conduct and community stewardship</li> - <li>Copyright versus ownership of ideas and identity</li> -</ul> +

Memories from the Latent Space by Alessandro Longo and Anna Fasolato

+

Memories from the Latent Space is a guessing game that uses AI technologies to stimulate playful and insightful considerations around the future of our digital society. Starting with a set of quotes from different authors that touch on the topic of C/O Digital Festival and the P2P Residency, each player selects a quote and then types an inspired prompt - a textual input - into the model interface. When every player has created the image, the real game will start: each participant will try to guess to which quote the image is inspired, discussing the reasons and maybe speculating on the quote itself. If nobody guessed, the creator of the image can intervene with a personal explanation about their personal view on the connection between the image and the sentence and the reasons behind the quote’s choice. The game is also a way to explore the Latent Space of generative models, where words and images got connected in unpredictable ways, just remotely similar to human reasoning.

-<p><br /></p> +

this is a safe space: therapeutic art session by Vivian Chan

-<h3 id="8--leaving-with-a-positive-note">8 . Leaving with a positive note</h3> +

The day will end with a therapeutic art session – this is a safe space. We will use mindfulness-based practice and art to clear the space and ground your bodymind. After a day of learning, connecting, and sharing with people and the digital world, it is important to take some time to check in with your mind, body and feelings with curiosity, empathy, and imagination.

-<ul> - <li><a href="https://blog.datproject.org/2019/03/22/three-protocols-and-a-future-of-the-decentralized-internet/"><em>Three protocols and a future of the decentralized internet</em></a> by Darius Kazemi</li> - <li><a href="https://runyourown.social/">Run your own social</a>:How to run a small social network site for your friends by Darius Kazemi</li> - <li><a href="https://ournetworks.ca">Our Networks</a> in Toronto</li> - <li><a href="https://radicalnetworks.org/">Radical Networks</a> in New York</li> - <li><a href="https://www.alliedmedia.org/amc">Allied Media Conference</a> in Detroit</li> - <li><a href="https://dwebcamp.org">DWEB Camp</a> in San Francisco</li> - <li><a href="https://blog.archive.org/2019/07/31/remembering-the-first-dweb-camp-july-2019/">Remembering the First DWeb Camp, July 2019</a> By Frances Sawyer</li> - <li><a href="https://reading.supply/post/432f6903-c7cd-4cb0-a894-c09155a8ca8b">The Internet’s Old Guard</a> By Jay Graber</li> - <li><a href="https://medium.com/decentralized-web/transforming-ourselves-to-transform-our-networks-f4511a3d7483">Transforming Ourselves to Transform Our Networks</a> by mai ishikawa sutton</li> -</ul> +

Registration

-<p><br /></p> +

Please complete this registration +You are encouraged to bring your laptop to participate in technical workshops.

]]>garden.local2022-01-04T00:00:00-05:002022-01-04T00:00:00-05:00http://localhost:4000/posts/gardenlocalThe latest in the Distributed Web of Care is garden.local, which asks - What if the Internet is like a garden, full of moss, lichens, and mushrooms?

-<h3 id="9-a-case-for-emergent-networks">9. A case for emergent networks</h3> -<ul> - <li>“trust the people and they become trustworthy. trust the people and you will become trustworthy.” <a href="http://adriennemareebrown.net/2019/07/01/trust-the-people-2/"> -trust the people</a> by adrienne maree brown</li> - <li>“We are not idealistic. Decentralization is not a solution to the problems of the centralized networks. However, we are not pessimistic. Decentralized networks, when they are designed by the folx traditionally marginalized from the networks, LGBTQPOC, Deaf, Disabled, Indigenous and traditional communities, can lead to an equitable, distribtued web of care.” by Taeyoon Choi</li> -</ul> + -<p><br /></p> +

What if the Internet is like a garden, full of moss, lichens, and mushrooms? What would it be like if humans could visit this lush, natural environment and listen to the tales of the software-plants, and rest against the hardware-earth, and exchange vital forms of care with various data-creatures?

-<h3 id="10-activity-suggestions">10. Activity suggestions</h3> +

Since 2018, Taeyoon Choi has collaborated with fellow artists, engineers, and writers through the series, Distributed Web of Care. Taking the conditions of today’s Internet as their starting point, these works seek to question and imagine beyond the status quo, proposing alternate futures. The project garden.local is a part of the Distributed Web of Care series. The second installment of garden.local premieres with the exhibition Distributed Web of Care: garden.local at Art Center White Block from November 20 to 28, 2021 in Paju, South Korea.

-<ul> - <li>Create an append-only journal with peers</li> - <li>Build your own social network with peers</li> - <li>Role play a situation for community stewardship and protection</li> - <li>List your priorities for data privacy</li> - <li>Map your ‘orthogonal’ approach for a better web</li> -</ul> +

Internet protocols and infrastructure make up the fabric of all online communication. Certain aspects of the Internet we are most familiar with - especially commercial platforms like Facebook and Google - have problematic practices with regard to privacy, security, and data sovereignty. At the same time, we must ask ourselves: is the Internet, in fact, a singular space? What can we do to allow for different approaches and modes of thought to enter it?

-<h3 id="support">Support</h3> -<p>Much love for <a href="http://bufubyusforus.com/thewyfyschool">BUFU</a>, <a href="http://sfpc.io">The School for Poetic Computation</a>, SFPC <a href="http://sfpc.io/codesocieties-winter-19">Code Societies</a> and <a href="https://melanie-hoff.com">Melanie Hoff</a> for supporting the WYFY School, <a href="http://flawlesshacks.com">Flawless Hacks</a> for supporting the ‘work in progress’ zine and the DWEB Camp and the Secure Scuttlebutt community.</p>
Free, public workshop for the WYFY School, in partnership with BUFU. 8.11.2019 6:30 - 8 p.m. at the School for Poetic Computation, NYC. This posting is a work in progress guide for Decentralized Networks Workshop.
On Stewardship2019-05-24T00:00:00+09:002019-05-24T00:00:00+09:00http://localhost:4000/posts/on-stewardship<p>by Jerron Herman</p> +

Practically speaking, in some urban areas that experience disparities in web access, “Community Technology” activists have set up mesh networks to provide widespread alternative access, demonstrating their commitment to decentralizing the Internet and building more equitable conditions for and connections between all people. Generally, we tend to think of computers and the Internet as separate things, but in fact the internet is just the largest computer ever built. So if this Internet, then, can be transformed into a garden, computers themselves will become spaces of software-plants, hardware-dirt, and data-creatures.

-<iframe width="600" height="338" src="https://www.youtube.com/embed/AulQkgzjecU" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe> +

The lichens and mushrooms that dot these gardens, in particular, have much to teach us about building truly alternative networks. In bearing witness to the symbiotic collaboration that takes place between algae and fungi, we are brought face to face with a way of life that resonates for organic and inorganic beings alike. Endlessly enmeshed with and dependent on one another, these entities are defined by the care they exchange - a clear model of the interdependent, distributed, equitable web of care that garden.local seeks to explore and establish.

-<p><em>Attending. Attending. Attending. As you prepare to demonstrate your prowess, attend to the ones here. If ego plays a part, you are doomed. Also, you’ve got something to offer.</em></p> +

garden.local is a project that combines drawing installations, wifi networks, and a mobile app based on those same drawings and networks. At the same time, garden.local is committed to accessibility for all, and working to construct a system that is barrier-conscious. In the current exhibition, audience members may use their own smartphones or those provided by the gallery to enter the virtual garden. Once inside, everyone is able to experience the transformation of Art Center White Block, witnessing and cultivating the growing mosses, lichens, and mushrooms within.

-<p><img src="/static/images/jerron/1_Jerron.jpg" alt="" /></p> +]]>
Community Over Commodity2020-06-07T00:00:00-04:002020-06-07T00:00:00-04:00http://localhost:4000/posts/communityCommunity Over Commodity: Towards an Unselfish Care

-<p><em>Image description: Jerron Herman takes the floor to guide participants through movement exercises, exploring the various states a network can be. He stands in all black in the center of the room, with one arm raised and the other cradling his torso. The stewards in DWC shirts sit on the ground around him, in front of the audience seating. He introduces himself as “a disabled dancer with an interest in bridging disparate things together, hence computational theory and dance.” Jerron tells the audience that together we’ll be going through “experiences of taking the networks - centralized, decentralized, and distributed into our bodies.” He states his intent of using the disability experience to deepen our communal understanding of care, offering the idea of “disability genius,” as a singularly distinct output a disabled folk will communicate in a new way of working.</em></p> +

by Adina Glickstein

-<p>Sometimes, you have to encourage yourself.</p> +

The notion of “self care” has, unfortunately, proven no exception to contemporary capitalism’s all-encompassing drive to subsume and render profitable an ever-widening array of personal activities. What began as a radical intervention rooted in Black Feminst thought—Audre Lorde’s injunction to care for oneself as an act of “political warfare,” as she outlined it in Sister Outsider1—has since transmogrified into a chorus of market-based answers to the wider grievances of overwork and atomization, wrapped up in pastel packaging. In its current ubiquity, it’s easy to forget that the phrase “self-care” is a fairly recent addition to the common lexicon: the concept was popularized sometime around 2016, with search-engine hits peaking in the weeks after Donald Trump’s election to the office of US President.2 It indexes a common and understandable need—the desire to be delivered from the constant wear of workday weariness and chronic stress, currents of degradation that make us sick and sad, requiring rejuvenation. But has capital ever been known to overlook an opportunity to fold ever more activities into the realm of “productivity?”

-<p>Contributing to the Distributed Web of Care event at The Whitney Museum was a real-time activation of collaboration for me, one that still reverberates across my professional career in impressionable ways. In it I learned the compelling truth of humility and the liberation of stewardship. When developing a solo practice, it is very common to take on everything and any delegation is done begrudgingly, when time or energy is scarce. One never seeks help with full capacity. Yet, as I entered the first rehearsal of DWC, I felt the unmistakable dizziness of assistance, of support. In addition to the DWC Stewards, a steering collective of artists and engineers, the space contained a scribe, multiple rooms to play, smart volunteers, and snacks. These are considered luxuries in other contexts whereas here it was commonplace. This context set me up to imbibe on critical thought that was not based on exasperation or exhaustion; this was an easy task, the rigorous part was yet to come.</p> +

-<p>I’m still processing the series of events: invitation to interpret distributed networks via movement, good first rehearsal, dismal tech rehearsal, formative discussion, last minute rehearsal, magical activation. Across these events I felt my usual tension to perform melt to the simmering sensation of release, an incomprehensible comfort with unknowing and a growing delight in play.</p> +

The same neoliberal forces that heighten our need for caring intervention seek to commodify concern, packaging the prospect of “self-care” into consumable products and Instagram-ready ideologies. Body-positivity, which started as a liberation movement seeking to acknowledge fatphobia’s racist, colonialist underpinnings (explained in depth by Sabrina Strings3 and Caleb Luna4), is now a convenient way of selling underwear. Self-care sells, and under our current global circumstances—COVID-19 and its attendant pathologies of the mind and body, intense loneliness and spiking screen-time among them—one can easily slide into the delusion that buying “the right goods” is the only viable vector for self-expression. Our sense of ourselves recedes into that which can be signalled on-screen; paradoxically, as our awareness of our physical bodies wanes, our desire to accrue products promising self-improvement seems to skyrocket. Lived experience floats across digital space in fragments—what Hito Steyerl calls “junktime,”5 now reduced even further as physical presence is flattened into screen-mediation—both heightening our general distress and promising to fix it, if only we select the right skincare.

-<p><strong>How was I to know Distributed Web of Care was a metaphor?</strong></p> +

The obligation to publicly perform one’s physical and psychological upkeep has been a mainstay since at least the origin of capitalism: “technologies of the self,” per Foucault, are nothing new. But as our faith in market-based solutions only seems to grow—as “freedom” is increasingly understood to mean “unlimited consumer choice”—the radical politics that once underpinned “self-care” diminish in direct proportion to their utility for advertising purposes. As the logic of industrial production wanes and capital reinvents itself, opening new avenues to outrun the perpetually falling rate of profit, the extraction of attention becomes the new form of labor power.6 Searching for (and spending on) commodified self-care, then, collapses back into work’s seemingly never-ending dominion.

-<p>Humility is possibly the last emotion before a breakthrough. With humility, one is absolved of their need to strive, instead becoming present, able to mindfully solve problems without needing perfection. I believed, as a first-time collaborator to the project, that I didn’t know how to interpret this vast ontological concept, this new ideology, that was <em>distributed web of care.</em> I began to regurgitate Taeyoon and Cori Kresge’s original formula, thinking no one would see me slipping if I just repurposed a found object. Yet, it was evident that in denying the activation of my voice, even the template fell flat for this event. It could not be regurgitated. But I had other rehearsals and jobs where I was responsible for grants and donors, not to mention my own self-care. It could not be regurgitated. Confronted with this truth, I finally asked for clarity, a brainstorm, another way in.</p> +

-<p>It was after our tech rehearsal at the Whitney. You know that feeling that something’s not right, but we’re all smiling through? I was so bemused by the DWC collaborators’ generosity and optimism that I didn’t want to seem confused or possibly laborious because I needed some extra help. We’re all doing our part. But I remember approaching Taeyoon, understanding Taeyoon, to reveal that I was lacking some grounded identity. Reassuring, he suggested a phone call the next day wherein we collaborated on the format. Clarity happened with the introduction of myself in the web of care. I thought, what am I curious about? The answer(s) were how this activity would expand relationships and get us moving, period. With a new breath, and my intention on the event restored, I made a movement.</p> +

In his exhibition at Factory2 in Seoul, South Korea, “The Care of the Self: Journals and Letters,” Taeyoon Choi’s collected letters, drawings, and journal entries sketch a conscious alternative. The show comprises a series of intimate dispatches thoughtfully turned outward, constituting its viewing public through tender disclosure. In the last month, I have had the privilege of editing several of these texts as an assistant in Taeyoon’s studio, a member of his deeply collective practice and direct beneficiary of his time, care, and support. Touching topics from the protests in Hong Kong in 2019 to personal experiences of racism that have concerningly multiplied during the COVID-19 pandemic, from the mysteries of creative inspiration to the gift of intellectual kinship, Taeyoon’s drawings and writings allude to the possibility latent in true self-care—not what he calls “selfish care,” but a genuine and generous impulse to work on oneself in order to better serve the worlds we inhabit.

-<p>It started with the movement phrase. It was deliciously simple and yet very “of my body” which made me feel more comfortable about facilitation. I tried out the phrase - mostly torso and hands to mitigate any separation for those seated or otherwise less mobile - in the communal holding space at The Whitney in plainview of the stewards.</p> +

-<p>You can play the facilitator or actually facilitate. I have internalized this unnecessary pressure as the facilitator to be flawless in the presence of audience or aids, but do not have a critical framework for failure. So, I’m simply nervous to fail and that’s all. In this experiment I spent too much time worrying rather than enjoying. The stewards were never supposed to be my lemmings, but my peers; us working together. I finally saw that.</p> +

It’s precisely the genre of unselfish care, advocated across Taeyoon’s work, that demands our attention in these heightened times: “SEEK NUANCE,” he reminds us, encouraging the development of poetic approaches that make space for the nuanced self-reflection that enables us to do the necessary work: gently confronting our own culpability. “Artistic imagination…is a fragile force in a world filled with various hardness,” reads one drawing, reminding us that revolutionary action so often begins with an injunction against the crystallized, certain, or immutable. Solidarity can only exist when we learn to see past stasis—a process of unlearning the received un-wisdom that leads us to seek individual fulfillment over mutual support and collective becoming.

-<p>I began to facilitate when I simplified what would occur and what would be the parts of entry for the stewards. From another, still complicated but clearer, rehearsal I set a plan and continually asked for agreement from the group. We would explicitly use the three totems of the web of care, “centralized”, “decentralized”, “distributed” and refer to our individual and collective bodies as the metaphor. So people would first feel their own network, then relate to multiple networks through extended tethering activities, like creating smaller circles of networks. The stewards were going to hold the space for others to explore and be centering figures, mediating my instructions.</p> +

-<p><img src="/static/images/jerron/2_Jerron.jpg" alt="" /></p> +

Sianne Ngai, in her exploration of “minor” affects, contends that cuteness, as a general aesthetic category, is fundamentally wrought with contradiction. In an interview for Cabinet Magazine, she explains how the category of “cute” does not facilitate cathartic action (as might, say, anger or unqualified joy), but rather, indexes a state of “suspended agency”—a diffuse, indefinite feeling that makes space for political ambiguity.7 It’s fitting, then, that Taeyoon’s aesthetic leaning is suffused with charm: delightful sketches animate his own poetics of contradiction, holding open the potential for collaborative imagination and insistence on an equitable future. Taeyoon’s particular heraldry of this aesthetic impulse—as opposed to, say, the pop-cuteness of “Pink Globalization8-adjacent Hello Kitty aesthetics or the diminutive powerlessness that Ngai later cross-examines—stands in service of the profound importance of self-inquiry, mobilizing this potential for contradiction and transformation. The accessibility of his formal approach facilitates our entry into an ongoing reflective journey, inaugurating a process much more formidable than plopping into the proverbial bubble bath of selfish-care.

-<p><em>Image description: Jerron guides the audience through the first movement exercise: recognizing and feeling our own individual sense of network before we start to experience others’. Participants and stewards have their arm raised in various directions, instructed by Jerron to “take your right arm and extend it out in a safe position, maybe in front, maybe behind, maybe above you.” He continues to guide, “move it [your arm] around a little bit in a circular motion, but keeping the tension of the arm as straight or as tense as it can be.” After being led through other exercises of feeling our own bodies, Jerron states: “that’s your network. Your own individual network”</em></p> +

I first encountered Taeyoon from across the classroom during the School for Poetic Computation’s inaugural session of Code Societies in 2020, organized by Melanie Hoff with Neta Bomani and Emma Rae Norton. “Learning is an arduous act of repetition, staying humble and curious,” he read to my cohort from one of his letters.9 Here, he touched on something wider and more salient than simply the onerousness of learning how to code: “Unlearning,” he continued, “is to resist the atrocities of systemic oppression, violence formalized in the bureaucracies of knowledge production.” Another dimension of Taeyoon’s work—less foregrounded in this show but certainly present, stirring implicitly just below the surface of several sentiments on view—deals with computation and code, asking us to reflect on the ways in which human biases are cast back through technological mediation. How, he urged us to consider in Code Societies, does the conventional understanding of coding limit our real grasp on the myriad ways in which our experiences are coded—shaped by rules and mores that reinforce top-down cascades of power, typically unexamined and often to marginalized groups’ greatest detriment? His project here is crucial: it breaks down the distinction we have come to take for granted between the “passive” and the “programmers”: we are all, in a sense, always already coding, just as we are being coded by the instruments and systems that organize our movement through the world.10

-<p>There was an extraordinary mutual learning moment in the midst of us creating smaller networks where one steward, Lori Hepner, disclosed she felt particularly stressed about the activity involving coordinated movement within the “decentralized” section. In this section, stewards and participants would take my guided choreography into smaller networks to replicate and interpret without my facilitation. In these smaller networks, they would have to know and continue the movement in a more private way.</p> +

-<p>I knew this moment. Even as a professional dancer I still cannot “pick up” choreography. I need time to orient myself if facings to the front change or I need time to feel it when different parts of the body are being employed. This activity was supposed to be accessible. However, accessible doesn’t just mean easier, it means equitable. How can one enter into a space on their own terms. It’s more about possessing the amount of information that breeds the most autonomy - knowing where the bathroom is located, how many steps to the bar, who surrounds me, and what movement quality are you really looking for - this knowledge combines with a personalized fortitude to make something inviting. As Lori and I talked, I reassured her that her autonomy was intact in the exercise. Still unsure, she would become an asset in another way. She would use her voice to describe and translate my movement during the event for everyone, making the choreography accessible and helping me transform access into an aesthetic. <strong>There’s tension in access because it can shift. When we approach access like art, it retains a form of care.</strong></p> +

Confronting our own positions in these toxic sedimentations is, inevitably, a challenge. The past few days, following George Floyd’s murder by US police officers, have been marked by heartening displays of activist solidarity against a background of state-sanctioned violence and racialized brutality. The conversations that have unfolded since then have repeatedly drawn my mind to the notion of “white fragility,” Robin DiAngelo’s term for white people’s inability to tolerate racial stress, so deeply is their—our—privilege both conditioned and expected.11 I struggle to write about it, my thoughts repeatedly muddied and undermined by my awareness of this privilege: I am a white American, a college graduate, generally unmarked as I move through the world. DiAngelo explains, though, that public-facing outpourings of white guilt and anger are antithetical to the necessary activist project at present: the unjust equilibrium can only begin to change when we overcome white fragility in favor of actively listening, relinquishing the urge to lead, and lending support. +In his thoughtful approach to reframing self-care, Taeyoon offers each of us—viewers, humans, un-learners—a starting point for untangling these troubling trends within ourselves, attending to our needs as a passageway into foregrounding those of others.

-<p><img src="/static/images/jerron/3_Jerron.jpg" alt="" /></p> +

-<p><em>Image description: Participants take the floor, standing behind Jerron who’s center in front of the audience. Lori Hepner stands to the right of Jerron at the front, holding a microphone to announce the choreography to the room. Jerron’s right arm is extended out towards his right side, bent ever so slightly into a downward facing arc. The crowd follows his movements behind him, with a slew of arms extending outwards in the distance. As Jeron begins to lead the room through movements he announces, “In the centralized place, you don’t have autonomy. So what I’m going to do is take you through a piece of choreography that you’re going to have to take on and then we’ll figure out what happens next.”</em></p> +

“The Care of the Self” is a means towards decentering the self, situating one’s own being within a broader community and stabilizing ourselves against the deleterious capitalist customs—individualization among them—that fragment us, foreclosing the possibility of solidarity and revolutionary change. He approaches this conversation with patience and generosity, staging an accessible point of entry into that onerous process of unlearning, the discomfort of which we must be responsible enough to contend with each day forward. “What distinguishes humans from machines,” he explains in a comic entitled “WHAT IS TO BE DONE?”, “is our capacity for sympathy.” This is the capacity that his work explicitly draws upon, gracefully activating our ability to move into unlearning—pushing us to call forth a more caring world, wrought nonetheless with delicious nuance and uneasy contradiction. Unlearning as unworking: Taeyoon models how this process of untangling is an act of calculated counter-productivity, highlighting the demand for constant output and pausing to proceed otherwise. What if, instead of perpetually building towards the new, we re-dedicated ourselves and our resources towards reflection, towards a break from the logic of “customer” and “creative producer,” moving instead in the direction of commonality and care?

-<p><img src="/static/images/jerron/4_Jerron.jpg" alt="" /></p> +

About the Author

-<p><em>With the crowd now dispersed into smaller circles, a DWC steward is captured interpreting Jerron’s choreography as her own now. She reaches her right arm outwards towards her right side, her torso and head follow accordingly. Behind her is a group of participants, each themselves interpreting the choreography without instruction. These are the smaller, decentralized networks, where the task remains to just interpret. Jerron guides them, stating: “when I say ‘go.’ you’re going to take on the same movement you just learned, and your intention is to imagine an invisible string that connects you all, and yet its not there. So from here, recreate the movement and see what happens.”</em></p> +

-<p><img src="/static/images/jerron/5_Jerron.jpg" alt="" /></p> +

Adina Glickstein is a critic and research-driven multidisciplinary artist. Their art practice, which spans video, installation, and text-based work, examines the attention economy and the historical relationship between cinema and labor. Their writing has appeared in Artforum, Spike Art Quarterly, Flash Art, and Hyperallergic. They also work as an assistant at Taeyoon Studio.

-<p><em>Image description: An older woman with orange tinted glasses, a blue sweater, and white hair stands in front of a group of other participants, holding a pink string with both hands in front of her. The string is part of a larger web, criss-crossing and tangling behind her. Introducing the element of string and the final phase of distribution, Jerron tells the audience, “In this configuration now, you’re going to speak to each other…with the choice of three phrases: ‘May I?’ ‘Can I’ and ‘I will.” In the distributed configuration, the intention is “to remain connected as you complete the choreography…but then also try and create connections that otherwise weren’t there the first time you tried this choreography.”</em></p> +

Original drawings by Taeyoon Choi

-<p><img src="/static/images/jerron/6_Jerron.jpg" alt="" /></p> +

Exhibition view

-<p><em>Image description: A diverse group of people look tenderly towards one another entangled in a web pink string. Some arms are raised upwards holding the string, some stay holding it closer to the body. Jerron affirms the group that at this point, “some of the choreography has gone out the window.” He also instructs them participants that “should they want to leave the network, you can.” In the distributed phase, audience members have autonomy over both their movements, and their participation in the choreography itself.</em></p> +
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Oddkins2020-03-18T00:00:00-04:002020-03-18T00:00:00-04:00http://localhost:4000/posts/oddkinsby Taeyoon Choi

-<p>The exhilarating climax to this experience with the Distributed Web of Care occured when the majority of attendees stood to create the first large circle. In that moment I realized language, intention, inflection, body language, and space had communicated to them permission to be present and experience together. What did we do to get here? From my standpoint the prompts I gave came out of ways I usually felt connected. Simple and deep prompts, like place your head on your neighbor’s shoulder. Still, I was taken aback by their willingness to be vulnerable. In my mind I went back to the rehearsal even a few hours before when the stewards and I didn’t know how the large audience participation would settle in our bodies. We had gone through “feeling your own network” and had a semblance of what the smaller networks would entail. The larger circle was a great unknown. The scale was different: by rehearsal we had grown familiar with each other to warrant comfort to lean on someone’s shoulder, not so in the activation. I lovingly mentioned this with, “we didn’t have this in rehearsal!” There was a shorter, older woman next to me who delighted in being asked to lean or squeeze or participate. Her reaction was mine. The proceeding elements of play disbursed with glee as stewards wielded string and participants entangled themselves, as people closely observed disabled movement alongside a live audio description, and enjoyed a bespoke accompaniment.</p> +

an ink drawing with circle, triangles and squares that look like alien entity. some lines are dotted and others are solid. black and white art work by Taeyoon.

-<p><img src="/static/images/jerron/7_Jerron.jpg" alt="" /></p> +

Oddkin is a word Donna Haraway uses to describe an unlikely collection of intimate people. In ‘From Cyborgs to Companion Species,’ a lecture Haraway delivered on September 13, 2003 at the University of Berkeley, she unpacks the concept through various stories and metaphors. I’m fascinated by the word oddkin. The word captures the expansive and intimate relationships I have in my personal life, at my work in the School for Poetic Computation, and in the Processing community. I’m bilingual, so it’s natural for me to translate a new word into Korean. The word kin is 친척 (親戚 in Chinese), a family member. I couldn’t find the Korean translation of oddkin. I asked my Twitter followers if anyone would help translate it, and media artist Masayuki Akamatsu suggested 기묘한동류(妙な同類 in Japanese). It doesn’t have the earthy, crittery feel of oddkin, but it contains the sense of unlikely intimacy. It’s close enough.

-<p><em>Image description: Approximately 25 audience members participate in the scaffolding activity. They stand shoulder to shoulder next to one another, learning collectively towards the right side. Their heads and weight rest on the shoulder of the person to the right of them. Bound tightly together, the tilted configuration retains a steadiness and stability, marked by shared participation, trust, and care.</em></p> +

Dear oddkins. I’ve been lucky to participate and help the p5.js contributors conference at the Frank-Ratchye STUDIO for Creative Inquiry in 2015 and remain a member of the project. p5.js is a JavaScript library for creative coding, with a focus on making coding accessible and inclusive for artists, designers, educators and beginners. Artist and founder of p5.js, Lauren McCarthy asked me to write a piece for the p5.js zine in early 2020. In this letter, I take an opportunity to think about you, my oddkins in the world of art, technology and education, and share a list of questions for you.

-<p>There is a group of people forever bound by a night at the Whitney. Within, the presentations and knowledge crept into their bodies, then their bodies creatively expressed minute or massive understanding of the new bits of knowledge, eventually creating an atmosphere that I thought symbolic of the content. Care is an action and we collectively built ourselves up through mutual understanding and joy to act carefully. I know everyone who attended the Distributed Web of Care event carries it with them.</p> +

I’d like to challenge the misuse of the word “democracy” in the context of technology. “Democracy” implies distributed power, fair representation, and equity for every citizen in a society. In conferences or demo days, I will often hear someone say that they are trying to ‘democratize’ technology by making tools or resources. For example, “I made this open-source tool. Now everyone can do what I do!” What they are not saying, and the privilege they are ignorant of, is that in order to use the tool you need to be technically fluent, be in an environment where you are accepted as a technical person, and have access to computers and network. In reality, technology, tools and resources alone cannot uphold democracy. Truly democratic societies require ongoing maintenance, stewardship and education. The question of who’s considered a citizen of society remains in every democratic system. Thus, the question of democracy is essentially a question of personhood– who is visible, whose labor is valued and who is heard in space.

-<p>I entered this activation striving to be worthy of a computational theorist only to realize that as much unlearning needs to occur as learning. I think when stewardship is invoked, an almost archaic word already, bringing notes of feudalism and lords, it calls on you to be similarly valorous. How? By true presence and presence alone.</p> +

What the p5.js project does differently, and has from the beginning, is demystify the common narrative of a lone engineer creating a powerful framework and the stereotypes of who’s seen as technical and/or artistic. p5.js is a community where contributions from QTPOC, non-binary, disabled and Deaf, and non-technical individuals are valued equally. The p5.js community is definitely more woke than most other software communities, but it is also a truer reflection of the reality of software/hardware development. There are almost always non-technical and non-traditional contributors who are integral to the success of any technology. They include but are not limited to writers, educators, testers, designers, Quality Control professionals and service workers.

-<p><img src="/static/images/jerron/8_Jerron.jpg" alt="" /></p> +

The questions of whiteness in the open source field remains unresolved for me. I’ve attended numerous software and hardware conferences over the years. Some were highly exclusive and self-selective, others were open and inviting to newcomers. In the U.S. and Europe, the conference speakers and attendees were dominatingly white males. In Asia, I noticed the conference organizers and attendees trying to replicate white supremacy, tech solutionism, and patriarchy with a bit of nationalism. Codes of Conduct did not exist in major tech spaces until a few years ago. I could write a book about the troubling experiences I have had and witnessed in tech conferences. Older, established, white male engineers and academics making rude comments to female, gender non-conforming, people of color, may need to be divvied up into a few chapters. Young tech dudes promising to solve the world’s greatest challenges with code. Introverts who are actually just snobbish, escaping to their devices to avoid human contact, yet stalking women with overt confidence. The most insidious forms of racism happen offstage. How a speaker badge isn’t enough for a person of color to enter the speakers’ lounge, how white bartenders treat a black person with offhand racist jokes, how women of color are tokenized for photo opportunities and a shout out on a diversity statement. They can get a chapter of their own in my book about tech conferences.

-<p><em>Image description: A DWC Steward smiles jubilantly, with her eyes closed and arms raised above her as she holds onto the pink string, entangling behind her into the web of people. The image captures a moment of presence, focus, delight and trust.</em></p> +

To survive in white spaces as a person of color, I learned to adapt to the expectations of others. In other words, I learned to play the white man’s game. Once I felt grounded, I leveraged my place to give voice to the others. Speaking my truth made some people uncomfortable and I lost some opportunities. Speaking up brought me the respect of others, especially those who want to use their power in white spaces to bring changes.

-<h2 id="about-the-author">About the Author:</h2> -<p><img src="/static/images/jerron/9_Jerron.jpg" alt="" /></p> +

How to speak up to challenge the establishment? I think nuance and candor are essential to start a conversation. No one likes to be criticized, but everyone loves to be understood. When I was learning to code, a friend told me, “Treat your computer like your younger sibling.” During the p5.js Contributors Conference, Jason Alderman, Tega Brain, Luisa Pereira and I created ‘Debugging guide for p5.js.’ This approach of care, patience and play is essential in exploratory and poetic computing. I think a similar approach is necessary to navigate the technology industry and community. When someone makes a mistake, call them out, but don’t cancel them out. Give them a humane error message: Hi there. You’ve done something that made me feel uncomfortable. It doesn’t mean you are a bad person. May I suggest how your behavior can be improved? Give them a second chance. If they improve, great! If they continue to make the same mistake, move on. That is the labor of care in a technological society.

-<p><a href="https://jerronherman.com/">Jerron Herman</a> is an interdisciplinary artist who’s been featured with Heidi Latsky Dance at Lincoln Center, ADF, the Whitney Museum, and abroad in Athens. He’s been a principal member of HLD since 2011. Jerron now serves on the Board of Trustees at Dance/USA. Jerron has also shot for Tommy Hilfiger Adaptive, consulted for a Nike-sponsored project, and was profiled in Great Big Story. In 2018 he was a Snug Harbor PASS artist, a finalist for the inaugural Apothetae/Lark Play Development Lab Fellowship and was nominated for a Fellowship in Dance from United States Artists. His latest solos include Phys. Ed. and Relative – a crip dance party. Jerron studied at Tisch School of the Arts and graduated from The King’s College. The New York Times has called him, “…the inexhaustible Mr. Herman.”</p>
by Jerron Herman
Movement Scores2019-05-23T00:00:00+09:002019-05-23T00:00:00+09:00http://localhost:4000/posts/movement-scores<p>by Cori Kresge and Taeyoon Choi</p> +

Media and design researcher Shannon Mattern’s essay “Maintenance and Care,” published in Places Journal in November 2018, offers “a working guide to the repair of rust, dust, cracks, and corrupted code in our cities, our homes, and our social relations.” Mattern connects care-work in relation to the practice and concept of maintenance to reveal that “the distinctions between these practices are shaped by race, gender, class, and other political, economic, and cultural forces.” Inspired by her provocation, I want to ask some questions regarding the maintenance of technology and the tech industry. How can we distinguish between humane, unintentional errors within the systems of oppression that make a global impact? How can we scale the practice of care to a global network of solidarity towards social and environmental justice?

-<p>A set of movement scores for Distributed Web of Care developed by Cori Kresge and Taeyoon Choi between 2018-2019 in collaboration with DWC stewards and students from the School for Poetic Computation.</p> +

Should we train machine learning algorithms with a better data set to be less biased? Or should we not train the machines if the algorithms can be appropriated for malicious uses? If current algorithms contain biases of white male engineers, should POC engineers train machine learning algorithms to be more inclusive of their data and perspectives? Unlearning the biases we’ve been taught and undoing wrong are very difficult. Things get complicated, especially regarding restorative justice in the context of a Capitalist society. When we cooperate with those who’ve committed social ill in the past, what is the real cost of their redemption? By greenwashing, diversity-washing and care-washing, are we maintaining a system of injustice? Sure, no money is clean, but we decide how to get it. The conversation about ethical grayscale is highly contextual, but are there some things that are just wrong and should not be tolerated? If the true meaning of care is to take responsibility, are there some things that must be divided through binary determinism? In other words, are there some people or organizations we should not consider working with at all?

-<p>The scores in various forms were developed and shared by Cori Kresge for the Uncomputable in 2018, -Movement, Memory, and the Unconscious Resource and <a href="https://sfpc.io/classes/movement">Code Movement</a> workshop in 2019 at the School for Poetic Computation in New York.</p> +

I’m struggling to come to terms with these questions, my oddkins. The distinction between what is ethical and unethical seems blurry, while technology is used to create greater disparities between those who have wealth, power and resources and those who don’t. The reason I’m attracted to the word and idea of oddkin is that it mends contradictions (oddness) with intimacy (kinship). If we consider ourselves, developers, users and educators of p5.js as an example for an alternative technological community, what can we offer to the greater world? Should we maintain a system that’s unfairly designed? Should we start a new system?

-<p>The scores were adapated for workshops by Taeyoon Choi for the Decentralized Web Summit in San Francisco, M+ Museum in Hong Kong, Nam June Paik Museum in South Korea, Istanbul Design Biennale and various venues between 2018 and 2019.</p> +

I kindly ask if we can think about the question of care in relation to independence (autonomy) and interdependence (kinship). I’m interested in hearing from my oddkins.

-<p>This movement score is a documentation of a participatory performance presented by Cori Kresge and Taeyoon Choi for <a href="https://www.eyebeam.org/events/refiguring-the-future-conference/">Refiguring the Futures</a> conference organized by REFRESH / Eyebeam at the Knockdown Center in New York in February 10, 2019. The performance was accompanied by music and sound by stud1nt and Tiri Karanuruk.</p> +
-<p><img src="/static/images/movement/image4.jpg" alt="" /></p> +

Distributed Web of Care is an independent publishing project. Please support us via tax-deductible donation at the OpenCollective.

-<h2 id="initiation--lead-by-taeyoon">Initiation – lead by Taeyoon</h2> +

Written by Taeyoon Choi, February, 2020, Published in March 18, 2020

-<p>Group forms a circle. Everyone stands around the circle.</p> +

Illustration by Taeyoon Choi for Getting Started with p5.js published by O’Reilly

-<p>Everyone closes their eyes.</p> +

Edited by Shea Fitzpatrick

-<p>The activity leader instructs the group:</p> +

Special thanks to Shannon Mattern, Lauren McCarthy, Dorothy Santos, Masayuki Akamatsu, Mizuki Takeshita and the Centre for Heritage and Textile, Golan Levin and the Frank-Ratchye STUDIO for Creative Inquiry and Saerom Suh.

-<p>“Imagine you are a big animal.”</p> +
-<p>“Walk as slowly as you can to the center of the circle.”</p> +

a photograph of Taeyoon, who's in his mid-thirties. He's wearing a silver glass and looks out to the distance. he's wearing a shirt with graphic - care, not control

-<p>“If you feel other’s presence, take a moment to pause.”</p> +

Taeyoon Choi is an artist, educator, and organizer. He is a cofounder of the School for Poetic Computation, an artist-run institution with the motto of “More Poetry, Less Demo!” Taeyoon seeks a sense of gentleness, intellectual kinship, magnanimity, justice and solidarity in his work and collaboration. He has presented installations, performances and workshops at Eyebeam Art and Technology Center, Los Angeles County Museum of Art, New Museum, M+ Museum, Istanbul Design Biennale, Seoul Mediacity Biennale and Venice Biennale for Architecture. He contributed to alternative education such as the Public School New York, Occupy University and Triple Canopy Publication Intensive. Recently, Taeyoon worked with Mimi Onuoha to start the New York Tech Zine Fair. He collaborated with Nabil Hassein and Sonia Boller to organize the Code Ecologies conference about the environmental impact of technology. As a disability justice organizer, Taeyoon continues to work with the Deaf and Disability community towards accessibility and inclusion.

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New Merchandise2019-10-10T00:00:00-04:002019-10-10T00:00:00-04:00http://localhost:4000/posts/october-merchDropping new merchandise for the Distributed Web of Care. +Shop from Taeyoon Workshop online store.

-<p>When the group is tightly close to each other in the center, ask them to open eyes.</p> +

+

-<p>Walk back to make a circle.</p> +

These long-sleeve shirts are 100% organic cotton and they are super comfortable. They have silk-screened graphics in the front and back. Front image is Care, not Control. Back image is a bibliography from the Distributed Web of Care 2018-2019. The graphics are printed with love by One Custom City in Detroit. The products will ship from Brooklyn, New York.

-<p>Repeat a few times.</p> +

Model is Neema of Radical Love Consciousness

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Announcing Decentralized Networks Workshop2019-08-10T00:00:00-04:002019-08-10T00:00:00-04:00http://localhost:4000/posts/decentralized-networksFree, public workshop for the WYFY School, in partnership with BUFU. 8.11.2019 6:30 - 8 p.m. at the School for Poetic Computation, NYC. This posting is a work in progress guide for Decentralized Networks Workshop.

-<p><img src="/static/images/movement/image1.jpg" alt="" /></p> +

-<h2 id="walking-together--lead-by-cori">Walking together – lead by Cori</h2> +

Centralized Networks

+ + +


+ +

+ +

Decentralized Networks

-<p>Everyone has their shoulders touching, forming a long line.</p> +

1. Silicon Valley Perspectives

-<p>They close their eyes.</p> + -<p>They try to walk all together in a group at the same speed. -They walk across the room.</p> +


+ +

-<p>Try a few times until everyone can walk in a similar speed.</p> +

2. A variety of decentralizations

-<h2 id="interdependence--lead-by-taeyoon">Interdependence – lead by Taeyoon</h2> + -<p>Everyone pairs up with someone next to them.</p> +


-<p>One person (leader) has their right palm facing down.</p> +

3. An alternative to Google Drives

-<p>Another person (follower) has their right palm facing up.</p> + -<p>Their palms are touching. They communicate only with their touch, no sound.</p> +


+ +

-<p>The palm-down leader is guiding the follower around the room. With extreme care to the safety and wellness of the follower.</p> +

4. An alternative to Instagram

-<p>The activity leader instructs the group: at any point during the activity, the follower can turn their palm to face down. Then their roles change. The follower is now the leader and opens their eyes, and the leader is now the follower with their eyes closed.</p> + -<p>The activity continues.</p> +

SSB concepts and terms

-<p>After about 10 minutes, the activity leader instructs the group they can exchange their followers using only eye contract to agree upon the exchange, no words.</p> + -<p>When two leaders have made eye contact and agreed, they gently exchange their partners who still have their eyes closed.</p> +

-<p>After about 10 minutes, the activity leader instructs the group they can connect to other pairs, still using no words only eye contact agreement, and make a long line of followers / leaders.</p> + -<p>The leaders are now taking care of two or more followers. Those who are at the end of the line can switch the roles.</p> +


+ +

-<h2 id="string-networks--lead-by-taeyoon-and-cori">String Networks – lead by Taeyoon and Cori</h2> +

5. QTPOC perspectives

-<p>Materials: a spool of soft strings or ribbons.</p> + -<p>Concept: Everyone is a node and the strings are the networks</p> +


-<p><img src="/static/images/movement/image3.jpg" alt="" /></p> +

6. Critical perspectives

+ -<h2 id="1-centralized-network">1. Centralized network</h2> +


-<p>The facilitator asks if someone wants to become a dictator of the network. The dictator can tell everyone what to do, where to connect, and how they connect.</p> +

7. Group discussion

-<p>Dictator can connect the network themselves or ask another node to connect on behalf of their direction.</p> + -<p><img src="/static/images/movement/image2.jpg" alt="" /></p> +


-<h2 id="2-decentralized-network">2. Decentralized network</h2> +

8 . Leaving with a positive note

-<p>The facilitator asks the group if there is a ‘Code of Conduct’ that they would like to have for the group. When everyone in the group agrees on five principles of the network, they self initiate the network.</p> + -<p><img src="/static/images/movement/image6.jpg" alt="" /></p> -<h2 id="3-distributed-network">3. Distributed network</h2> +


-<p>The facilitator presents the rule: Everyone can join or leave the network anytime. When they join by touching the strings, they need to close their eyes and constantly be moving in small or large gestures. Whenever they desire, they can leave the network and open their eyes. They can cut the strings and create new network or modify and add new rules.</p> +

9. A case for emergent networks

+ -<p><img src="/static/images/movement/image5.jpg" alt="" /></p> -<h2 id="4-invisible-network">4. Invisible network</h2> +


-<p>Now everyone is instructed to reenact the distributed network without the strings but moving their arms and bodies as though they are still holding string. They need to understand every movement they take on in the space will have effects on other people.</p> +

10. Activity suggestions

-<p><img src="/static/images/movement/image7.jpg" alt="" /></p> + -<p>All photographs by Christine Butler</p> +

Support

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Much love for BUFU, The School for Poetic Computation, SFPC Code Societies and Melanie Hoff for supporting the WYFY School, Flawless Hacks for supporting the ‘work in progress’ zine and the DWEB Camp and the Secure Scuttlebutt community.

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On Stewardship2019-05-24T00:00:00-04:002019-05-24T00:00:00-04:00http://localhost:4000/posts/on-stewardshipby Jerron Herman

-<p><a href="https://www.youtube.com/watch?v=SimjRuytXIY&amp;t=0s&amp;list=PLBez-U3NPcCu2THKggOiS4kJWGOsEi0C1&amp;index=14">Video documentation</a></p> + -<h1 id="about-the-author">About the Author:</h1> +

Attending. Attending. Attending. As you prepare to demonstrate your prowess, attend to the ones here. If ego plays a part, you are doomed. Also, you’ve got something to offer.

-<p><a href="https://www.instagram.com/corikresge/">Cori Kresge</a> is a NYC based dancer, collaborator, writer, and teacher. Kresge graduated from SUNY Purchase with a BFA in dance and the Dean’s Award. She was a member of the Sri Chinmoy Meditation Center and International Vocal Ensemble. Kresge has been a member of the Merce Cunningham Repertory Understudy Group, functioning as a living archive for Cunningham works from the 60’s, 70’s, and 80’s. In 2016 Kresge staged Cunningham’s Field Dances, an improvisational score, on students of CNDC, Angers, France. She has also been a member of José Navas/Compagnie Flak, and Stephen Petronio Company. Kresge currently collaborates and performs with various artists including Rashaun Mitchell+Silas Riener, Liz Magic Laser, Rebecca Lazier, Xavier Cha, Esmé Boyce, Ellen Cornfield, Sarah Skaggs, Bill Young, Wendy Osserman, Sally Silvers, The School for Poetic Computation, and film makers Alla Kovgan, Zuzka Kurtz, and Charles Atlas. She has taught technique and improvisation at NYU Tisch School of the Arts, Bard College, Dickinson College, Barnard College, Princeton University, the Dalton School, and other institutions. Kresge also teaches the Little Creators preschool program at Church Street School for Music and Art in NYC. She is currently studying Zero Balancing, a therapeutic bodywork.</p>
by Cori Kresge and Taeyoon Choi
Who Owns the Stars: The Trouble with Urbit2019-05-04T00:00:00+09:002019-05-04T00:00:00+09:00http://localhost:4000/posts/who-owns-the-stars<p>by Francis Tseng</p> +

-<p>The application that introduced peer-to-peer (P2P) computing to the mainstream was file sharing, services like Napster, Kazaa, Gnutella, and BitTorrent. For me, these programs were the first time the contradiction of artificial scarcity—the imposed scarcity of infinitely replicable digital information—and the excessive measures that were used to enforce it became startlingly clear. Over time, I encountered the term P2P in other settings and alongside other ideas—democratic governance, communalism, autonomy, cooperatives—and I started to see the purchase this idea had beyond file sharing and networking protocols.</p> +

Image description: Jerron Herman takes the floor to guide participants through movement exercises, exploring the various states a network can be. He stands in all black in the center of the room, with one arm raised and the other cradling his torso. The stewards in DWC shirts sit on the ground around him, in front of the audience seating. He introduces himself as “a disabled dancer with an interest in bridging disparate things together, hence computational theory and dance.” Jerron tells the audience that together we’ll be going through “experiences of taking the networks - centralized, decentralized, and distributed into our bodies.” He states his intent of using the disability experience to deepen our communal understanding of care, offering the idea of “disability genius,” as a singularly distinct output a disabled folk will communicate in a new way of working.

-<p><a href="https://p2pfoundation.net/the-p2p-foundation/about-the-p2p-foundation">The P2P Foundation’s mission and strategic priorities</a>, for example, extend the early P2P ideas of open culture and exchange into values of cooperative living and regenerative production. <a href="https://www.scuttlebutt.nz/principles/">Scuttlebutt, a more recent P2P social networking protocol, has its own “principles stack”</a> that similarly advocates pluralistic exchange and mutual interdependence. It’s beautiful how, at least in the ideal scenario, by using a P2P service we are helping others access it as well. P2P is both an acknowledgment of our shared needs and an example of how cooperation helps us fulfill those needs.</p> +

Sometimes, you have to encourage yourself.

-<p>Over the years, I’ve followed along with P2P projects because of these shared values, and I always find it exciting when new projects emerge. It seems that P2P is experiencing something of a renaissance, likely due to the frenzy around blockchain (which purports to offer something similar to P2P) and the increasing popular anxiety around centralized internet services like Facebook.</p> +

Contributing to the Distributed Web of Care event at The Whitney Museum was a real-time activation of collaboration for me, one that still reverberates across my professional career in impressionable ways. In it I learned the compelling truth of humility and the liberation of stewardship. When developing a solo practice, it is very common to take on everything and any delegation is done begrudgingly, when time or energy is scarce. One never seeks help with full capacity. Yet, as I entered the first rehearsal of DWC, I felt the unmistakable dizziness of assistance, of support. In addition to the DWC Stewards, a steering collective of artists and engineers, the space contained a scribe, multiple rooms to play, smart volunteers, and snacks. These are considered luxuries in other contexts whereas here it was commonplace. This context set me up to imbibe on critical thought that was not based on exasperation or exhaustion; this was an easy task, the rigorous part was yet to come.

-<p>Urbit, “<a href="https://urbit.org/">a personal server built from scratch</a>,” first came across my radar a couple of years ago. Urbit positions itself as a P2P project, but it stands out in contrast to other P2P projects, mainly because the person behind it, Curtis Yarvin, seems antithetical to what I understand P2P to represent.</p> +

I’m still processing the series of events: invitation to interpret distributed networks via movement, good first rehearsal, dismal tech rehearsal, formative discussion, last minute rehearsal, magical activation. Across these events I felt my usual tension to perform melt to the simmering sensation of release, an incomprehensible comfort with unknowing and a growing delight in play.

-<p>My central question is this: <em>Is Urbit a project that should be supported?</em></p> +

How was I to know Distributed Web of Care was a metaphor?

-<p>We can further break this down into two parts. First, Urbit’s marketing materials correctly identify that concentrated data aggregation and decision-making power are fundamental issues of the internet-as-we-know-it. Twitter’s persistent neglect of harassment on its platform is one everyday example. It is clear that new protocols and platforms that reduce our dependency on distant power are needed to challenge these issues. What’s less clear, though, is whether or not Urbit actually offers a meaningful alternative. Does Urbit genuinely enable new kinds of relations? Or, does it merely replace the old aristocracy with a new one?</p> +

Humility is possibly the last emotion before a breakthrough. With humility, one is absolved of their need to strive, instead becoming present, able to mindfully solve problems without needing perfection. I believed, as a first-time collaborator to the project, that I didn’t know how to interpret this vast ontological concept, this new ideology, that was distributed web of care. I began to regurgitate Taeyoon and Cori Kresge’s original formula, thinking no one would see me slipping if I just repurposed a found object. Yet, it was evident that in denying the activation of my voice, even the template fell flat for this event. It could not be regurgitated. But I had other rehearsals and jobs where I was responsible for grants and donors, not to mention my own self-care. It could not be regurgitated. Confronted with this truth, I finally asked for clarity, a brainstorm, another way in.

-<p>The second, and more urgent, question is: who and what are we supporting by supporting Urbit? Many people in tech still believe that technology can be divorced from its creators; however, those of us in tech need to recognize that we have a considerable amount of influence over which products enter the mainstream consciousness, which products get created at all, and who receives both financial and social capital (shout out to <a href="https://techworkerscoalition.org/">Tech Workers Coalition</a> et al.). For example, consider Peter Thiel , who co-founded PayPal and was an early investor in Facebook. Early support of PayPal and Facebook contributed to their financial success, which developed Thiel’s influence and made him quite rich. Thiel then turned that money and influence into Palantir Technologies, a software company that <a href="https://theintercept.com/2017/03/02/palantir-provides-the-engine-for-donald-trumps-deportation-machine/">develops technologies to help expand surveillance and deportation for the government</a>. We have to consider what similar groundwork we help to lay by supporting Urbit.</p> +

It was after our tech rehearsal at the Whitney. You know that feeling that something’s not right, but we’re all smiling through? I was so bemused by the DWC collaborators’ generosity and optimism that I didn’t want to seem confused or possibly laborious because I needed some extra help. We’re all doing our part. But I remember approaching Taeyoon, understanding Taeyoon, to reveal that I was lacking some grounded identity. Reassuring, he suggested a phone call the next day wherein we collaborated on the format. Clarity happened with the introduction of myself in the web of care. I thought, what am I curious about? The answer(s) were how this activity would expand relationships and get us moving, period. With a new breath, and my intention on the event restored, I made a movement.

-<h2 id="context">Context</h2> +

It started with the movement phrase. It was deliciously simple and yet very “of my body” which made me feel more comfortable about facilitation. I tried out the phrase - mostly torso and hands to mitigate any separation for those seated or otherwise less mobile - in the communal holding space at The Whitney in plainview of the stewards.

-<p>In order to discuss Urbit’s design, we need to have an understanding of the politics of its creator, Curtis Yarvin. <a href="https://en.wikipedia.org/wiki/Curtis_Yarvin">Curtis Yarvin</a> is innocuously described on Wikipedia as an “American political theorist and computer scientist,” but to many, he is better known as <a href="https://www.theatlantic.com/politics/archive/2017/02/behind-the-internets-dark-anti-democracy-movement/516243/">one of the intellectual forebears of the alt-right</a>. From 2007 to 2014<sup id="fnref:1"><a href="#fn:1" class="footnote">1</a></sup>, working under the pen name Mencius Moldbug, Yarvin writings, which among other things espoused anti-democratic ideas and scientific racism and helped introduce many of what are now understood as the alt-right’s foundational ideologies to a wider public. The term “red pill,” which describes the process of reactionary radicalization and the community around it, was first used in this way by Yarvin.<sup id="fnref:2"><a href="#fn:2" class="footnote">2</a></sup> Defenders of Urbit are quick to dismiss any inclusion of Yarvin’s politics in discussions about Urbit as unfair or irrelevant, and might point out that Yarvin left the project in January of this year.<sup id="fnref:3"><a href="#fn:3" class="footnote">3</a></sup> However, given that Yarvin basically laid out the general design for Urbit independently, as he worked on it alone for 11 years<sup id="fnref:3:1"><a href="#fn:3" class="footnote">3</a></sup> and in parallel with his political writings<sup id="fnref:4"><a href="#fn:4" class="footnote">4</a></sup>, and that Urbit, as a P2P project, is a fundamentally social and thus incorporates ideas about how people should be organized, Yarvin’s politics should be considered as something that influences his design decisions and his long-term vision for the project. <a href="https://lobste.rs/s/z5j1hq/urbit_2017#c_4z4gik">Dog-whistles</a> have been identified in some of his writing about Urbit and its design, including his <a href="https://urbit.org/posts/essays/the-dao-as-a-lesson-in-decentralized-governance/">leaning on Nazi philosopher Carl Schmitt</a> for questions around Urbit’s governance.</p> +

You can play the facilitator or actually facilitate. I have internalized this unnecessary pressure as the facilitator to be flawless in the presence of audience or aids, but do not have a critical framework for failure. So, I’m simply nervous to fail and that’s all. In this experiment I spent too much time worrying rather than enjoying. The stewards were never supposed to be my lemmings, but my peers; us working together. I finally saw that.

-<p>To save space I’ll provide only a very brief overview of Yarvin’s political philosophy—if you like, you can read more about it <a href="https://thebaffler.com/latest/mouthbreathing-machiavellis">here</a>, <a href="https://www.viewpointmag.com/2017/03/28/the-darkness-at-the-end-of-the-tunnel-artificial-intelligence-and-neoreaction/">here</a>, <a href="https://thebaffler.com/latest/the-moldbug-variations-pein">here</a>, and <a href="https://slatestarcodex.com/2013/10/20/the-anti-reactionary-faq/">here</a>.</p> +

I began to facilitate when I simplified what would occur and what would be the parts of entry for the stewards. From another, still complicated but clearer, rehearsal I set a plan and continually asked for agreement from the group. We would explicitly use the three totems of the web of care, “centralized”, “decentralized”, “distributed” and refer to our individual and collective bodies as the metaphor. So people would first feel their own network, then relate to multiple networks through extended tethering activities, like creating smaller circles of networks. The stewards were going to hold the space for others to explore and be centering figures, mediating my instructions.

-<p>Yavin refers to his brand of political philosophy as “neocameralism.” Neocameralism, as described in his essay “<a href="https://www.unqualified-reservations.org/2007/08/against-political-freedom/">Against Political Freedom</a>,” is a political philosophy arguing that state should be run like a business, (i.e., with a CEO at its head and no democratic mechanisms). His ideas are credited as being foundational to the “<a href="https://techcrunch.com/2013/11/22/geeks-for-monarchy/">neoreactionary” movement</a>, which could be described as a neo-monarchist movement (though Yarvin himself doesn’t identify as a “monarchist” because of its association with a constitutional monarchy and not absolute monarchy). In the neoreactionary movement, “divine right” is supplanted with “genetic right” based on scientific racism reframed as “human biodiversity.” Yarvin’s writings are also popular within the right-libertarian sects of Silicon Valley, such as <a href="https://thebaffler.com/latest/the-moldbug-variations-pein">with Peter Thiel</a> (<a href="https://www.theverge.com/2017/2/21/14671978/alt-right-mencius-moldbug-urbit-curtis-yarvin-tlon">Peter Thiel also has a stake in Tlön</a>, Yarvin’s company which develops Urbit, via Thiel’s VC firm, Founders Fund). The point here is that Yarvin is not a fringe philosopher. His writings have influence over people with considerable power and contributes to the intellectual miasma that emboldens and normalizes anti-democratic, anti-immigrant, misogynistic, and racist policies and attacks.</p> +

-<h2 id="urbit">Urbit</h2> -<h4 id="a-self-sovereign-internet">A self-sovereign internet</h4> +

Image description: Jerron guides the audience through the first movement exercise: recognizing and feeling our own individual sense of network before we start to experience others’. Participants and stewards have their arm raised in various directions, instructed by Jerron to “take your right arm and extend it out in a safe position, maybe in front, maybe behind, maybe above you.” He continues to guide, “move it [your arm] around a little bit in a circular motion, but keeping the tension of the arm as straight or as tense as it can be.” After being led through other exercises of feeling our own bodies, Jerron states: “that’s your network. Your own individual network”

-<p>Urbit positions itself as infrastructure for self-sovereignty in the digital age, liberating people from ceding control of their data to corporations.<sup id="fnref:5"><a href="#fn:5" class="footnote">5</a></sup> The core idea is that Urbit helps you run a personal server that acts as an intermediary between you and other services, including existing services like Facebook (yes, there is a lot more to Urbit—such as its reinvention of parts of the lower-level computational stack—but its P2P layer is what’s of interest here).</p> +

There was an extraordinary mutual learning moment in the midst of us creating smaller networks where one steward, Lori Hepner, disclosed she felt particularly stressed about the activity involving coordinated movement within the “decentralized” section. In this section, stewards and participants would take my guided choreography into smaller networks to replicate and interpret without my facilitation. In these smaller networks, they would have to know and continue the movement in a more private way.

-<p>Self-sovereignty is an important principle, and I wager that many who regularly use the internet would agree that more of it is valuable for a healthy internet: for being able to control who can access your data, who can and cannot contact you, and so on. <em>But</em>, self-sovereignty is far too vague of a concept on its own. Left- and right-libertarianism both start with self-sovereignty as a core value, but they end up with vastly different conceptions of what meaningful self-sovereignty looks like and how it can be achieved. Left-libertarianism finds that self-sovereignty arises from social organizing, care, and democratic governance, which build towards positive freedoms (freedom to learn, to flourish, and so on); whereas, right-libertarianism believes it comes from the market and that negative freedoms (freedom from restrictions and regulation) are the goal. Though Yarvin does not identify as a libertarian (he is, in his own words, sympathetic to it), his neocameralism is right-libertarianism taken to its logical conclusion<sup id="fnref:6"><a href="#fn:6" class="footnote">6</a></sup> of corporate tyranny and serfdom.</p> +

I knew this moment. Even as a professional dancer I still cannot “pick up” choreography. I need time to orient myself if facings to the front change or I need time to feel it when different parts of the body are being employed. This activity was supposed to be accessible. However, accessible doesn’t just mean easier, it means equitable. How can one enter into a space on their own terms. It’s more about possessing the amount of information that breeds the most autonomy - knowing where the bathroom is located, how many steps to the bar, who surrounds me, and what movement quality are you really looking for - this knowledge combines with a personalized fortitude to make something inviting. As Lori and I talked, I reassured her that her autonomy was intact in the exercise. Still unsure, she would become an asset in another way. She would use her voice to describe and translate my movement during the event for everyone, making the choreography accessible and helping me transform access into an aesthetic. There’s tension in access because it can shift. When we approach access like art, it retains a form of care.

-<p>To draw an example that you might be familiar with, consider the Twitter-alternative, Gab, which markets itself as a bastion for free speech. Gab, in practice, operates as a niche platform for members of the far-right who have been banned from Twitter: “<a href="https://www.nytimes.com/2018/10/28/us/gab-robert-bowers-pittsburgh-synagogue-shootings.html">a haven for white nationalists, neo-Nazis and other extremists</a>”. We might ask then, is Gab a platform for free speech, or is it a platform for hate speech? Who’s speech does Gab prioritize? It quickly becomes clear that the concept of “free speech” that Gab deploys is not quite the same as what others see it to mean.</p> +

-<p>In a similar way, this slipperiness of self-sovereignty as a concept, especially in light of Yarvin’s political writings, makes me suspicious of what it really means in the context of Urbit. Is Urbit actually designed to give users more autonomy and control? Does it restore any power to internet users?</p> +

Image description: Participants take the floor, standing behind Jerron who’s center in front of the audience. Lori Hepner stands to the right of Jerron at the front, holding a microphone to announce the choreography to the room. Jerron’s right arm is extended out towards his right side, bent ever so slightly into a downward facing arc. The crowd follows his movements behind him, with a slew of arms extending outwards in the distance. As Jeron begins to lead the room through movements he announces, “In the centralized place, you don’t have autonomy. So what I’m going to do is take you through a piece of choreography that you’re going to have to take on and then we’ll figure out what happens next.”

-<p>One central design feature of Urbit is its network hierarchy. As a participant in Urbit, you may be a galaxy (the top of the hierarchy), a star (which fall under galaxies), or a planet (which fall under stars). The description of this hierarchy <a href="https://github.com/cgyarvin/urbit/blob/6ac688960687aa9c89d4da6fff49a3125c10aca1/Spec/urbit/3-intro.txt">used to use explicitly feudal metaphors</a> as part of what Yarvin called “digital feudalism,” with himself as the “prince,” and further contributes to my suspicion of Yarvin’s conception of self-sovereignty actually entails.</p> +

-<p>In trying to backpedal on these naming conventions, Yarvin claims that his ideas about governance are flipped for the internet:</p> +

With the crowd now dispersed into smaller circles, a DWC steward is captured interpreting Jerron’s choreography as her own now. She reaches her right arm outwards towards her right side, her torso and head follow accordingly. Behind her is a group of participants, each themselves interpreting the choreography without instruction. These are the smaller, decentralized networks, where the task remains to just interpret. Jerron guides them, stating: “when I say ‘go.’ you’re going to take on the same movement you just learned, and your intention is to imagine an invisible string that connects you all, and yet its not there. So from here, recreate the movement and see what happens.”

-<blockquote> - <p>If the real world today is governed as an insanely dysfunctional republic, and the Internet today is governed as a cluster of insanely despotic corporate monarchies, it doesn’t strike me as at all inconsistent with historical thought to treat the former case of misgovernment with efficient monarchism, and the latter case with liberating republicanism.<sup id="fnref:7"><a href="#fn:7" class="footnote">7</a></sup></p> -</blockquote> +

-<p>The rationale for why the opposite is the ideal in each case—beyond contrarianism, at least—is unclear. We should dig into how Urbit’s governance is laid out to better understand what’s going on here.</p> +

Image description: An older woman with orange tinted glasses, a blue sweater, and white hair stands in front of a group of other participants, holding a pink string with both hands in front of her. The string is part of a larger web, criss-crossing and tangling behind her. Introducing the element of string and the final phase of distribution, Jerron tells the audience, “In this configuration now, you’re going to speak to each other…with the choice of three phrases: ‘May I?’ ‘Can I’ and ‘I will.” In the distributed configuration, the intention is “to remain connected as you complete the choreography…but then also try and create connections that otherwise weren’t there the first time you tried this choreography.”

-<p>Urbit’s primary governance model is a “self-governing digital republic” where <em>“authority is proportional to property.</em><sup id="fnref:8"><a href="#fn:8" class="footnote">8</a></sup> Galaxies, stars, and planets are conceived of as property to be purchased and in limited supply, and one’s power within Urbit is determined by what tier of ownership they occupy and how much they own. The republic is structured as a “<a href="https://urbit.org/posts/essays/the-urbit-address-space/">three-chambered legislature balanced against itself</a>,” where galaxies, stars, and planets constitute the three tiers. There is not much detail on how this government would operate, other than an <a href="https://urbit.org/posts/essays/interim-constitution/">interim constitution</a>, which doesn’t describe how these tiers actually balance each other. For instance, the “planetary assembly”, which manages technical governance, doesn’t have any oversight of the “stellar congress”, which manages internal governance, or the “galactic senate”, which selects consuls, who hold “full authority” in this interim.<sup id="fnref:9"><a href="#fn:9" class="footnote">9</a></sup> When it comes to the stars and galaxies, <a href="https://urbit.org/posts/essays/why-urbit-probably-does-not-need-a-blockchain/">the extent of your political agency as a planet is exit</a>—that is, the only meaningful action you can take is to move to a different host star.<sup id="fnref:10"><a href="#fn:10" class="footnote">10</a></sup></p> +

-<p>This notion of “exit,” which is popular among Silicon Valley libertarians like Peter Thiel<sup id="fnref:11"><a href="#fn:11" class="footnote">11</a></sup>, is a key part of Yarvin’s political philosophy. It is summarized as, in Yarvin’s own words as: “If residents don’t like their government, they can and should move.”<sup id="fnref:12"><a href="#fn:12" class="footnote">12</a></sup> Of course, this formulation of mobility as the ultimate form of political action neglects all the actual complications of uprooting yourself (leaving behind friends, family, and history), the question of whether or not any other place will accept you (e.g., in the case of borders or discrimination), and reduces your political expression to a single vote.</p> +

Image description: A diverse group of people look tenderly towards one another entangled in a web pink string. Some arms are raised upwards holding the string, some stay holding it closer to the body. Jerron affirms the group that at this point, “some of the choreography has gone out the window.” He also instructs them participants that “should they want to leave the network, you can.” In the distributed phase, audience members have autonomy over both their movements, and their participation in the choreography itself.

-<p>Obviously, exit in a digital context is logistically simpler than in a physical one, but it is still not easy. People critical of Twitter’s policies still use Twitter, not because they are hypocritical but because it’s a lot of effort to migrate to a new platform and re-establish connections from the former. People critical of Facebook may remain because it’s the only connection they have to some friends and family members. In both of these cases, having some mechanisms for democratic oversight would be more effective than showing people the door.</p> +

The exhilarating climax to this experience with the Distributed Web of Care occured when the majority of attendees stood to create the first large circle. In that moment I realized language, intention, inflection, body language, and space had communicated to them permission to be present and experience together. What did we do to get here? From my standpoint the prompts I gave came out of ways I usually felt connected. Simple and deep prompts, like place your head on your neighbor’s shoulder. Still, I was taken aback by their willingness to be vulnerable. In my mind I went back to the rehearsal even a few hours before when the stewards and I didn’t know how the large audience participation would settle in our bodies. We had gone through “feeling your own network” and had a semblance of what the smaller networks would entail. The larger circle was a great unknown. The scale was different: by rehearsal we had grown familiar with each other to warrant comfort to lean on someone’s shoulder, not so in the activation. I lovingly mentioned this with, “we didn’t have this in rehearsal!” There was a shorter, older woman next to me who delighted in being asked to lean or squeeze or participate. Her reaction was mine. The proceeding elements of play disbursed with glee as stewards wielded string and participants entangled themselves, as people closely observed disabled movement alongside a live audio description, and enjoyed a bespoke accompaniment.

-<p>There are still further issues with exiting. For example, I may be unable to exit if, perhaps for discriminatory reasons, I cannot find a star that is willing to host me. Or, I may be unable to establish my own star if no one is willing to sell to me for similar reasons. Additionally, we are forced to ask, How bad do things have to get before I decide to exit? Do I just have to endure everything below that threshold? The point of other (democratic) forms of political voice and agency are that they allow us to have a nuanced process of change, one that allows for fundamental shifts as well as the fine-tuning that is inevitably necessary. Limiting one’s political agency to exit, dismisses any potential for incremental change or open discussion—basically, if you don’t like the way things are, you can go. Otherwise, shut up and take it.</p> +

-<h4 id="property-ownership-and-power">Property, ownership, and power</h4> +

Image description: Approximately 25 audience members participate in the scaffolding activity. They stand shoulder to shoulder next to one another, learning collectively towards the right side. Their heads and weight rest on the shoulder of the person to the right of them. Bound tightly together, the tilted configuration retains a steadiness and stability, marked by shared participation, trust, and care.

-<p>Because <em>“authority is proportional to property”</em> in Urbit, we should look more closely at how ownership is understood and operates in its design.<sup id="fnref:8:1"><a href="#fn:8" class="footnote">8</a></sup> In <a href="https://urbit.org/posts/essays/a-founders-farewell/">his farewell</a>, Yarvin, out of ignorance or for rhetorical purposes, does not seem to recognize how ownership is a power relation. This is especially baffling because, as just quoted, in Urbit power and ownership are explicitly linked. Somehow in Yarvin’s broader understanding of things, property ownership is “random” and this means we should just let it be:</p> +

There is a group of people forever bound by a night at the Whitney. Within, the presentations and knowledge crept into their bodies, then their bodies creatively expressed minute or massive understanding of the new bits of knowledge, eventually creating an atmosphere that I thought symbolic of the content. Care is an action and we collectively built ourselves up through mutual understanding and joy to act carefully. I know everyone who attended the Distributed Web of Care event carries it with them.

-<blockquote> - <p>When you live in Manhattan, you simply don’t worry about who owns it or why; and nor does it matter. Are they Jews? Muslims? Christians? Communists? Italians? You don’t care and you don’t have to. You know it’s basically random and probably unfair. Randomness, even blatant unfairness, creates a kind of neutral, peaceful, even promising urban anonymity.<sup id="fnref:3:2"><a href="#fn:3" class="footnote">3</a></sup></p> -</blockquote> +

I entered this activation striving to be worthy of a computational theorist only to realize that as much unlearning needs to occur as learning. I think when stewardship is invoked, an almost archaic word already, bringing notes of feudalism and lords, it calls on you to be similarly valorous. How? By true presence and presence alone.

-<p>However, contrary to Yarvin’s claims, who owns what in Manhattan matters to a great many people. With <a href="https://www.nytimes.com/2017/07/21/upshot/when-the-empty-apartment-next-door-is-owned-by-an-oligarch.html">apartments left vacant</a> to be used as investment vehicles, or else in <a href="https://www.brickunderground.com/rent/pied-a-terre-airbnb-affordable-housing-crisis-nyc">low-use</a> because it’s more profitable to rent them out as Airbnbs, many people are rightfully critical of who owns (and profits) from these properties—properties that could, among other things, serve to house some <a href="https://www.bowery.org/homelessness/">New York’s homeless population</a>. Likewise, people are critical of how the developers who own large portions of the city <a href="https://www.propublica.org/article/developers-of-manhattan-luxury-towers-give-millions-to-upstate-candidates">use their positions to lobby state government</a> to compound and expand their influence. Whether or not the current allocation of Manhattan’s space is random (how developers lobby local government is a clear example that it’s not) or unfair does not mean we should throw up our hands and let it be. This line of argumentation is a red herring to deter questioning the property-power dynamics that undergird Urbit’s design.</p> +

-<p>If power in Urbit is predicated on ownership, then it’s worth asking who owns what. The distribution of galaxies (<a href="https://urbit.org/posts/essays/the-urbit-address-space/">as of 2016 at least</a>) puts 185 of the 256 in the hands of Tlön, Tlön’s employees, and urbit.org (which is <a href="https://urbit.org/posts/essays/interim-constitution/">currently under management and ownership of Tlön</a>). The story for stars is not much different: 57.62% of stars (almost 38,000 of the 65,500 stars) are also owned by Tlön, its employees, and urbit.org. Even with Urbit’s tiered hierarchical structure, which ostensibly decentralizes power, we can see that power is quite concentrated (which they acknowledge).<sup id="fnref:9:1"><a href="#fn:9" class="footnote">9</a></sup></p> +

Image description: A DWC Steward smiles jubilantly, with her eyes closed and arms raised above her as she holds onto the pink string, entangling behind her into the web of people. The image captures a moment of presence, focus, delight and trust.

-<p>This comparison to Manhattan calls back to Urbit developers’ comparison of their system to land.<sup id="fnref:8:2"><a href="#fn:8" class="footnote">8</a></sup> Urbit’s design creates a class of digital landlords who are the primary political authorities. There are obviously significant differences between physical land and digital space, but it strikes me as a regression to reproduce land scarcity (and rent-seeking structures) in cyberspace. For Urbit’s digital land, scarcity has to be manufactured, and manufactured digital scarcity seems antithetical to P2P values—where the easy replicability of data represents new opportunities and alternatives to the crude economies we’ve stumbled through in the physical world.</p> +

About the Author:

+

-<p>How then does Urbit justify this manufactured scarcity? The primary reason is as a defense against Sybil attacks—a class of attacks endemic to pretty much any digital networking system where adversaries can generate identities in bulk to attack the system (e.g., DDoS attacks or spam).<sup id="fnref:13"><a href="#fn:13" class="footnote">13</a></sup><sup id="fnref:8:3"><a href="#fn:8" class="footnote">8</a></sup><sup id="fnref:5:1"><a href="#fn:5" class="footnote">5</a></sup> Spam is something like a Sybil attack—it’s easy to make tons of email addresses and use them to bombard people.</p> +

Jerron Herman is an interdisciplinary artist who’s been featured with Heidi Latsky Dance at Lincoln Center, ADF, the Whitney Museum, and abroad in Athens. He’s been a principal member of HLD since 2011. Jerron now serves on the Board of Trustees at Dance/USA. Jerron has also shot for Tommy Hilfiger Adaptive, consulted for a Nike-sponsored project, and was profiled in Great Big Story. In 2018 he was a Snug Harbor PASS artist, a finalist for the inaugural Apothetae/Lark Play Development Lab Fellowship and was nominated for a Fellowship in Dance from United States Artists. His latest solos include Phys. Ed. and Relative – a crip dance party. Jerron studied at Tisch School of the Arts and graduated from The King’s College. The New York Times has called him, “…the inexhaustible Mr. Herman.”

]]>
Movement Scores2019-05-23T00:00:00-04:002019-05-23T00:00:00-04:00http://localhost:4000/posts/movement-scoresby Cori Kresge and Taeyoon Choi

-<p>The paper that introduced Sybil attacks proved that there is no way to altogether prevent such attacks without introducing a centralized identity-verification authority.<sup id="fnref:14"><a href="#fn:14" class="footnote">14</a></sup> In the case of spam this would be like one organization that manages a global registry of non-spam emails. There are, however, ways to make Sybil attacks more expensive and thus less feasible to execute. In the case of Urbit, the scarcity is meant to compel prices for stars and planets such that they are too expensive for an attacker to purchase in bulk.<sup id="fnref:8:4"><a href="#fn:8" class="footnote">8</a></sup></p> +

A set of movement scores for Distributed Web of Care developed by Cori Kresge and Taeyoon Choi between 2018-2019 in collaboration with DWC stewards and students from the School for Poetic Computation.

-<p>There are other decentralized Sybil-defense schemes proposed for P2P networking. Some introduce cryptographic puzzles, similar to Bitcoin’s proof-of-work.<sup id="fnref:15"><a href="#fn:15" class="footnote">15</a></sup><sup id="fnref:16"><a href="#fn:16" class="footnote">16</a></sup><sup id="fnref:17"><a href="#fn:17" class="footnote">17</a></sup> Others are based on explicit trust in social networks.<sup id="fnref:18"><a href="#fn:18" class="footnote">18</a></sup><sup id="fnref:19"><a href="#fn:19" class="footnote">19</a></sup><sup id="fnref:20"><a href="#fn:20" class="footnote">20</a></sup> These approaches aren’t without their flaws—Sybil attacks can’t be completely prevented, after all—but, crucially, these schemes don’t introduce points of centralization that require concentrated trust or introduce authorities that can exclude non-adversarial actors from the network. Because Urbit’s supply is explicitly controlled by owners of galaxies and stars, they can deny people access for any arbitrary reason. This is especially concerning because of the aforementioned concentration of Urbit property.</p> +

The scores in various forms were developed and shared by Cori Kresge for the Uncomputable in 2018, +Movement, Memory, and the Unconscious Resource and Code Movement workshop in 2019 at the School for Poetic Computation in New York.

-<p>Yet even though Urbit’s design grants political power proportionally to ownership, “[f]or the interim, full authority is held by the (Roman style) consulate.”<sup id="fnref:9:2"><a href="#fn:9" class="footnote">9</a></sup> Urbit is functionally an authoritarian regime for now. It is designed to <a href="https://urbit.org/posts/essays/common-objections-to-urbit/">decentralize eventually</a>—Urbit documentation acknowledges a need to spread out ownership of its assets.<sup id="fnref:8:5"><a href="#fn:8" class="footnote">8</a></sup> But, given the initial distribution of galaxies—95 galaxies to the Tlön Corporation; 50 to urbit.org (the future community foundation); 40 to Tlön employees and their family members (24 to Yarvin, who started in 2002, and 16 to everyone else who started in 2014); 34 to outside investors in Tlön; and 37 galaxies to 33 other individuals, who donated to the project, contributed code or services, won a contest, or were just in the right place at the right time—it isn’t clear what kind of further distribution of ownership they have in mind, or even whether it will be meaningful. More troubling still is that in their own words, Urbit describes this distribution as being spread “across a diverse set of entities,”<sup id="fnref:8:6"><a href="#fn:8" class="footnote">8</a></sup> when it seems to only encompass people in their immediate networks. This arrangement is reminiscent of Manhattan real estate: the earlier you got in, the more ownership, and thus power, you accrued.</p> +

The scores were adapated for workshops by Taeyoon Choi for the Decentralized Web Summit in San Francisco, M+ Museum in Hong Kong, Nam June Paik Museum in South Korea, Istanbul Design Biennale and various venues between 2018 and 2019.

-<p>Furthermore, “decentralization” when used to describe governance is notoriously slippery, especially in blockchain and blockchain-adjacent contexts such as P2P. What does it mean for a government to be meaningfully decentralized? If galaxies and stars become prohibitively expensive to the point where only the wealthy can purchase them, does that lead to a decentralized government? Decentralization also says nothing about representative ratios. In the US, we have 535 members of Congress representing 320 million Americans; if Urbit achieves full adoption, there’ would be 256 galactic senate members representing 4.3 billion planets.</p> +

This movement score is a documentation of a participatory performance presented by Cori Kresge and Taeyoon Choi for Refiguring the Futures conference organized by REFRESH / Eyebeam at the Knockdown Center in New York in February 10, 2019. The performance was accompanied by music and sound by stud1nt and Tiri Karanuruk.

-<p>There’s nothing to suggest that Urbit even cares about how representative its governance structures are. The word “democratic” is scarce across descriptions of Urbit’s governance. “Democracy” only appears once throughout all of urbit.org, and it is <a href="https://urbit.org/posts/essays/the-dao-as-a-lesson-in-decentralized-governance/">in a sarcastic quote</a>. The term also appears in an older document, and its use is telling: “Urbit will never be a democracy, but it should always remain a republic.”<sup id="fnref:21"><a href="#fn:21" class="footnote">21</a></sup> In that same document, Yarvin does mention that the dukes (now “galaxies” in the new terminology) will be organized democratically, but this is consistent with the republic formulation.<sup id="fnref:21:1"><a href="#fn:21" class="footnote">21</a></sup></p> +

-<p>This, combined with Yarvin’s <a href="https://www.unqualified-reservations.org/2007/04/formalist-manifesto-originally-posted/">admiration of the Roman Principate</a> as an example of a government that “retain[s] the symbolic structures of democracy”<sup id="fnref:6:1"><a href="#fn:6" class="footnote">6</a></sup> while being autocratic in practice (the Roman Principate was ruled by an emperor but maintained a superficial senate for the appearance of a continuing republic), gives me reason to doubt the intentions around governance here. A new internet under this regime could easily turn out to be just as bad as or worse than it is now.</p> +

Initiation – lead by Taeyoon

-<h2 id="who-urbit-supports">Who Urbit Supports</h2> +

Group forms a circle. Everyone stands around the circle.

-<p>While Yarvin is officially removed from the further design and development of Urbit, he still maintains a minority share in Tlön and a few thousand stars (he is “<a href="https://urbit.org/posts/essays/a-founders-farewell/">probably the only individual with a fair amount of Urbit address space</a>”). His departure at this point is not enough to counteract his heavy, and at times exclusive, involvement in Urbit’s foundational design and development.</p> +

Everyone closes their eyes.

-<p>For me, there is an issue that goes beyond Urbit’s design and future ambitions. It comes down to the fact that if I were to support Urbit, I would also be supporting Yarvin—he still has a substantial stake in its success and, like any network-based platform, the value of Urbit increases the more people use it. At least <a href="https://www.reddit.com/r/IAmA/comments/4bxf6f/im_curtis_yarvin_developer_of_urbit_ama/">some people do support Urbit because they support Yarvin’s politics</a>. Yarvin’s years writing as Mencius Moldbug were possible <a href="http://www.2blowhards.com/archives/2007/04/_trial_version.html">because of money made during the dot-com boom</a>. After announcing his departure, <a href="https://www.reddit.com/r/slatestarcodex/comments/ag2s4f/curtis_yarvin_quit_tlon_the_startup_making_urbit/">people have expressed excitement around his return to writing</a>, so we may see further works of political philosophy from him. Even if Yarvin were to never write again, the success of Urbit is likely to draw attention to its creator—and introduce more people to his past writings.</p> +

The activity leader instructs the group:

-<p>Beyond introducing Yarvin’s writings to new audiences, we should also consider how supporting Urbit supports Yarvin more directly. We can get a rough sense of Yarvin’s financial stake in Urbit, leaving aside speculation about his financial stake in Tlön itself:</p> +

“Imagine you are a big animal.”

-<p>There are 256 galaxies and 65,536 stars across all of Urbit.<sup id="fnref:8:7"><a href="#fn:8" class="footnote">8</a></sup> There are roughly 4.3 billion planets that were initially evenly distributed across stars, so each star started with 65,000 planets.<sup id="fnref:22"><a href="#fn:22" class="footnote">22</a></sup> In the long-run Urbit developers believe $10 to be a fair price for a planet.<sup id="fnref:23"><a href="#fn:23" class="footnote">23</a></sup> Assuming that the price eventually converges to $10 per planet and Urbit achieves widespread adoption, then each star is worth $650k in planet real estate alone. Planets are also expected to pay a monthly fee to their stars for routing services (which is the bare minimum service; the star may choose to offer services as well).<sup id="fnref:24"><a href="#fn:24" class="footnote">24</a></sup> This fee is estimated to be anywhere from $10–$100 per month.<sup id="fnref:22:1"><a href="#fn:22" class="footnote">22</a></sup></p> +

“Walk as slowly as you can to the center of the circle.”

-<p>Let’s assume the lower end, that $10/month is required for the routing services. If a star sells all of its planets and they remain under that star, that’s potentially another $650k in revenue per month. When we consider that Yarvin owns “a few percent of all stars” (which is thousands of stars)<sup id="fnref:3:3"><a href="#fn:3" class="footnote">3</a></sup>, if Urbit does achieve widespread adoption, then that is a staggering amount of wealth. Yarvin’s nominal departure from Urbit does not change the fact that he stands to gain tremendously from its success.</p> +

“If you feel other’s presence, take a moment to pause.”

-<p>What does an internet in which Urbit achieves widespread adoption look like? I’m not sure it would look much different. You would have a personal server, sure; but then there would then be a new infrastructural layer between you and your ISP (who you’ll still have to pay) owned by <em>another</em> class of rentiers who you’ll also pay. One of the great appeals of P2P is that routing occurs almost as a side-effect of everyone using the internet, so by being online, you help others be online at essentially no additional cost. Urbit abandons this P2P property of mutual aid such that the property and power relations of the internet are mostly kept intact.</p> +

When the group is tightly close to each other in the center, ask them to open eyes.

-<p>Of course, it’s not certain—or even likely—that Urbit will ever achieve this level of adoption and value. What is clear, however, is that if I were to support Urbit, then I would, even in a small way, be making its spread and adoption all the more likely. We already spend so much of our time and money supporting regimes of violence, oppression, and inequality by merely existing in a capitalist society. These relationships are hard to break because they are so deeply established and entrenched within culture and the market. Urbit is not yet entrenched in the same way, and I do not want to help it get there. I want to have no part in supporting Yarvin or any other project or creator whose underlying ideology is hateful, reactionary, or anti-democratic.</p> +

Walk back to make a circle.

-<h2 id="closing-words">Closing Words</h2> +

Repeat a few times.

-<p>Urbit is still in such a nascent state with much left ambiguous. Its value (or your expectations of its value) largely depends on how much you trust the people behind it. It’s hard for me to trust people who have no problem working for someone like Yarvin who has actively contributed to the re-emergence of white supremacy and anti-democratic ideas, or who would go so far to <a href="https://www.theverge.com/2017/2/21/14671978/alt-right-mencius-moldbug-urbit-curtis-yarvin-tlon">dismiss Yarvin’s Nazi apologia (“What’s so bad about Nazis?”) as “trolling.</a>”</p> +

-<p>“<a href="http://art.yale.edu/file_columns/0000/0066/borges.pdf">Tlön, Uqbar, Orbis Tertius</a>,” the Borges story where Yarvin’s company gets its name, describes a secret society, <em>Orbis Tertius</em>, that architects an entirely new world, <em>Tlön</em>, by publishing an encyclopedia describing it. Over time, bits of this fictional world begin to emerge in the real world, consuming it, such that “[t]he world will be Tlön.” What ideas are Yarvin’s Tlön trying to manifest in our world? What world would Yarvin seek to manifest with his new wealth?</p> +

Walking together – lead by Cori

-<p>In asking these questions, we should consider them not only as tools for evaluating similar projects but also as criteria with we might develop new projects. What ideas do we want to manifest in our world? I absolutely agree that what Urbit positions itself against—an internet dominated by concentrated corporate interests and surveillance infrastructure—is something that internet technologists need to build alternatives to. But we shouldn’t replace it with another system of undemocratic control or one that supports far-right intellectuals. I hope to see more P2P projects that commit to most promising values of P2P systems—plurality, democracy, mutual interdependence, sharing, and cooperation—as they take on the difficult but necessary task of creating egalitarian platforms and infrastructure, rather than rehashing the old hierarchies. P2P computing is still a burgeoning technology, and while there are projects like <a href="https://www.scuttlebutt.nz/">Scuttlebutt</a>, <a href="https://beakerbrowser.com/">Beaker Browser</a>, and the various <a href="https://fediverse.party/">Fediverse projects</a>, which all reflect its potential, there is plenty of room for more.</p> +

Everyone has their shoulders touching, forming a long line.

-<p><em>Additional acknowledgements: thanks to Dan Taeyoung and Matt Goerzen for their comments and insights.</em></p> +

They close their eyes.

-<h2 id="about-the-author">About the Author:</h2> -<p><img src="/static/images/francis/francis.jpg" alt="" /></p> +

They try to walk all together in a group at the same speed. +They walk across the room.

-<p><a href="https://frnsys.com">Francis Tseng</a> in an engineer working primarily with simulation and machine learning. His research interests include climate change, tech autonomy, and traps. He is currently a fellow at the Jain Family Institute. Formerly, he taught at the New School and co-published The New Inquiry.</p> +

Try a few times until everyone can walk in a similar speed.

-<div class="footnotes"> - <ol> - <li id="fn:1"> - <p>“UR.” Unqualified Reservations by Mencius Moldbug. Accessed May 02, 2019. <a href="https://www.unqualified-reservations.org/#archive">https://www.unqualified-reservations.org/#archive</a>. <a href="#fnref:1" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:2"> - <p>Moldburg, Mencius. “Gentle Introduction to Unqualified Reservations Chapter 1: The Red Pill.” January 8, 2009. Accessed May 02, 2019. <a href="https://www.unqualified-reservations.org/2009/01/gentle-introduction-to-unqualified/">https://www.unqualified-reservations.org/2009/01/gentle-introduction-to-unqualified/</a> <a href="#fnref:2" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:3"> - <p>Yarvin, Curtius. “A Founder’s Farewell.” Urbit /Posts. January 19, 2019. Accessed May 02, 2019. <a href="https://urbit.org/posts/essays/a-founders-farewell/">https://urbit.org/posts/essays/a-founders-farewell/</a> <a href="#fnref:3" class="reversefootnote">&#8617;</a> <a href="#fnref:3:1" class="reversefootnote">&#8617;<sup>2</sup></a> <a href="#fnref:3:2" class="reversefootnote">&#8617;<sup>3</sup></a> <a href="#fnref:3:3" class="reversefootnote">&#8617;<sup>4</sup></a></p> - </li> - <li id="fn:4"> - <p>Yarvin, C. Guy. “Urbit: Functional Programming from Scratch.” Moron Lab. January 13, 2010. Accessed May 02, 2019. <a href="http://moronlab.blogspot.com/2010/01/urbit-functional-programming-from.html">http://moronlab.blogspot.com/2010/01/urbit-functional-programming-from.html</a>. <a href="#fnref:4" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:5"> - <p>“Primer.” Urbit. Accessed May 02, 2019. <a href="https://urbit.org/primer">https://urbit.org/primer</a>. <a href="#fnref:5" class="reversefootnote">&#8617;</a> <a href="#fnref:5:1" class="reversefootnote">&#8617;<sup>2</sup></a></p> - </li> - <li id="fn:6"> - <p>Moldburg, Mencius. “A Formalist Manifesto.” Unqualified Reservations by Mencius Moldbug. April 23, 2007. Accessed May 02, 2019. <a href="https://www.unqualified-reservations.org/2007/04/formalist-manifesto-originally-posted/">https://www.unqualified-reservations.org/2007/04/formalist-manifesto-originally-posted/</a>. <a href="#fnref:6" class="reversefootnote">&#8617;</a> <a href="#fnref:6:1" class="reversefootnote">&#8617;<sup>2</sup></a></p> - </li> - <li id="fn:7"> - <p>Lecher, Colin. “Alt-right Darling Mencius Moldbug Wanted to Destroy Democracy. Now He Wants to Sell You Web Services.” The Verge. February 21, 2017. Accessed May 02, 2019. <a href="https://www.theverge.com/2017/2/21/14671978/alt-right-mencius-moldbug-urbit-curtis-yarvin-tlon">https://www.theverge.com/2017/2/21/14671978/alt-right-mencius-moldbug-urbit-curtis-yarvin-tlon</a>. <a href="#fnref:7" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:8"> - <p>“Common Objections to Urbit.” Urbit. June 28, 2016. Accessed May 02, 2019 <a href="https://urbit.org/posts/essays/common-objections-to-urbit/">https://urbit.org/posts/essays/common-objections-to-urbit/</a> <a href="#fnref:8" class="reversefootnote">&#8617;</a> <a href="#fnref:8:1" class="reversefootnote">&#8617;<sup>2</sup></a> <a href="#fnref:8:2" class="reversefootnote">&#8617;<sup>3</sup></a> <a href="#fnref:8:3" class="reversefootnote">&#8617;<sup>4</sup></a> <a href="#fnref:8:4" class="reversefootnote">&#8617;<sup>5</sup></a> <a href="#fnref:8:5" class="reversefootnote">&#8617;<sup>6</sup></a> <a href="#fnref:8:6" class="reversefootnote">&#8617;<sup>7</sup></a> <a href="#fnref:8:7" class="reversefootnote">&#8617;<sup>8</sup></a></p> - </li> - <li id="fn:9"> - <p>“The Urbit Address Space.” Urbit. May 16, 2016. Accessed May 02, 2019 <a href="https://urbit.org/posts/essays/the-urbit-address-space/">https://urbit.org/posts/essays/the-urbit-address-space/</a>. <a href="#fnref:9" class="reversefootnote">&#8617;</a> <a href="#fnref:9:1" class="reversefootnote">&#8617;<sup>2</sup></a> <a href="#fnref:9:2" class="reversefootnote">&#8617;<sup>3</sup></a></p> - </li> - <li id="fn:10"> - <p>“Why Urbit Probably Doesn’t Need a Blockchain.” Urbit / Posts. July 14, 2017. Accessed May 02, 2019. <a href="https://urbit.org/posts/essays/why-urbit-probably-does-not-need-a-blockchain/">https://urbit.org/posts/essays/why-urbit-probably-does-not-need-a-blockchain/</a>. <a href="#fnref:10" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:11"> - <p>Tiku, Nitasha. “Silicon Valley’s Ultimate Exit Is a Fantasy of Seceding from the U.S.” Gawker. October 21, 2013. Accessed May 02, 2019. <a href="http://valleywag.gawker.com/silicon-valleys-ultimate-exit-is-a-fantasy-of-seceding-1449199349">http://valleywag.gawker.com/silicon-valleys-ultimate-exit-is-a-fantasy-of-seceding-1449199349</a>. <a href="#fnref:11" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:12"> - <p>Moldbug, Mencius. “Patchwork: A Political System for the 21st Century Chapter 1: A Positive Vision” Unqualified Reservations by Mencius Moldbug. November 13, 2008. Accessed May 02, 2019. <a href="https://www.unqualified-reservations.org/2008/11/patchwork-positive-vision-part-1/">https://www.unqualified-reservations.org/2008/11/patchwork-positive-vision-part-1/</a> <a href="#fnref:12" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:13"> - <p>“Interim Constitution.” Urbit / Posts. May 16, 2016. Accessed May 02, 2019. <a href="https://urbit.org/posts/essays/interim-constitution/">https://urbit.org/posts/essays/interim-constitution/</a>. <a href="#fnref:13" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:14"> - <p>Douceur, John R. “The Sybil Attack.” International workshop on peer-to-peer systems. Springer, Berlin, Heidelberg, 2002. <a href="#fnref:14" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:15"> - <p>Li, Frank, et al. “SybilControl: Practical Sybil defense with computational puzzles.” Proceedings of the seventh ACM workshop on Scalable trusted computing. ACM, 2012. <a href="#fnref:15" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:16"> - <p>Sohl, Eli. “Resisting Sybil Attacks in Distributed Hash Tables.” Sohliloquies. February 25, 2017. Accessed May 02, 2019. <a href="http://sohliloquies.blogspot.com/2017/02/resisting-sybil-attacks-in-distributed_25.html">http://sohliloquies.blogspot.com/2017/02/resisting-sybil-attacks-in-distributed_25.html</a>. <a href="#fnref:16" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:17"> - <p>Baumgart, Ingmar, and Sebastian Mies. “S/Kademlia: A practicable approach towards secure key-based routing.” 2007 International Conference on Parallel and Distributed Systems. IEEE, 2007. <a href="#fnref:17" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:18"> - <p>Lesniewski-Laas, Christopher and M. Frans Kaashoek. “Whānau: A Sybil-proof Distributed Hash Table.” 7th USENIX Symposium on Networked Systems Design and Implementation, NSDI 2010, April 28-30, 2010, San Jose, Calif. Version: Author’s final manuscript <a href="#fnref:18" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:19"> - <p>“Tonika.” Tonika - P2P Foundation. Accessed May 02, 2019. <a href="https://wiki.p2pfoundation.net/Tonika">https://wiki.p2pfoundation.net/Tonika</a>. <a href="#fnref:19" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:20"> - <p>Viswanath, Bimal, et al. “An analysis of social network-based sybil defenses.” ACM SIGCOMM Computer Communication Review 41.4 (2011): 363-374. <a href="#fnref:20" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:21"> - <p>Cgyarvin. “Cgyarvin/urbit.” GitHub. Accessed May 02, 2019.<a href="https://github.com/cgyarvin/urbit/blob/6ac688960687aa9c89d4da6fff49a3125c10aca1/Spec/urbit/3-intro.txt">https://github.com/cgyarvin/urbit/blob/6ac688960687aa9c89d4da6fff49a3125c10aca1/Spec/urbit/3-intro.txt</a>. <a href="#fnref:21" class="reversefootnote">&#8617;</a> <a href="#fnref:21:1" class="reversefootnote">&#8617;<sup>2</sup></a></p> - </li> - <li id="fn:22"> - <p>“R/urbit - What Will a Star Owner Do?” Reddit. Accessed May 02, 2019.<a href="https://www.reddit.com/r/urbit/comments/78wean/what_will_a_star_owner_do/">https://www.reddit.com/r/urbit/comments/78wean/what_will_a_star_owner_do/</a>. <a href="#fnref:22" class="reversefootnote">&#8617;</a> <a href="#fnref:22:1" class="reversefootnote">&#8617;<sup>2</sup></a></p> - </li> - <li id="fn:23"> - <p>“Primer.” Urbit / Docs. Accessed May 02, 2019.<a href="https://urbit.org/docs/learn/azimuth/">https://urbit.org/docs/learn/azimuth/</a>. <a href="#fnref:23" class="reversefootnote">&#8617;</a></p> - </li> - <li id="fn:24"> - <p>Murphy, Justin. “On Urbit and Exit (featuring Urbit Engineer Ted Blackman).” YouTube. November 24, 2018. Accessed May 02, 2019.<a href="https://www.youtube.com/watch?v=07LE6SAhUdo">https://www.youtube.com/watch?v=07LE6SAhUdo</a>. <a href="#fnref:24" class="reversefootnote">&#8617;</a></p> - </li> - </ol> -</div>
by Francis Tseng
Announcing WYFY School with BUFU2019-05-01T00:00:00+09:002019-05-01T00:00:00+09:00http://localhost:4000/posts/wyfy<p>by Taeyoon Choi</p> +

Interdependence – lead by Taeyoon

-<p>We are excited to collaborate with BUFU (By Us For Us). The WYFY (With You For You) School Board of the Wise is a free, online and IRL school for a distributed learning community. We hope to explore new models for collective learning for code, code of ethics and code of conduct, please follow the <a href="http://www.bufubyusforus.com/thewyfyschool">BUFU’s site</a> for the updates.</p> +

Everyone pairs up with someone next to them.

-<p><img src="/static/images/wyfy/wyfyposter1.jpg" alt="" /> -<img src="/static/images/wyfy/wyfyposter2.jpg" alt="" /></p> - -<p>BUFU is a unique collective of artists, designers, storytellers and organizers. I first learned about BUFU around 2016 and I’ve been following their work closely. BUFU is building cultural solidarity among QTPOC and the wider public, combining art, fashion and music, and recently through technology. BUFU’s events feel different from any other arts and technology events. There’s an electric sense of excitement and radical inclusivity. BUFU’s conceptual approach is fearless and provocative. They explore the intersections of ideas and identifications with grace. Their aesthetic practice is rich and enticing, often combining graphic elements with photo, video and online storytelling. I’m thrilled to collaborate with them and their large community.</p> - -<p><img src="/static/images/wyfy/bufu-1.jpg" alt="" /></p> - -<p><img src="/static/images/wyfy/bufu-2.jpg" alt="" /></p> - -<p><img src="/static/images/wyfy/bufu-3.jpg" alt="" /></p> - -<p><img src="/static/images/wyfy/bufu-4.jpg" alt="" /></p> - -<p><img src="/static/images/wyfy/bufu-5.jpg" alt="" /></p> - -<p><em>Photos by Taeyoon Choi</em></p> - -<p>I hosted the inaugural “Orientation &amp; Co-creation” at the Data and Society Research Institute (D&amp;S) on May 1, 2019.The <a href="https://www.youtube.com/watch?v=h3azPormLc0">video</a> is available but forgive us about the poor sound quality. The event was a culmination of long term collaboration with the D&amp;S team. I intended to invite BUFU community to the D&amp;S’s space and encourage them to learn about the D&amp;S’s research on topics such as algorithmic accountability and AI, privacy and security, truth in the age of misinformation. I also wanted my friends at the D&amp;S to experience BUFU’s organizing style and meet their community. The Distributed Web of Care project grew out of my fellowship at the D&amp;S between 2017 - 2018 and it has been an intellectual home for me. The researchers and fellows at the D&amp;S are creating powerful conceptual tools to gain critical perspectives about technology. I hope artists, organizers and creative individuals can utilize <a href="https://datasociety.net/output/">their research</a>, activate it in their practice and to empower their community. A number of D&amp;S researchers and staff participated in the orientation event and contributed to imagining ‘dream schools’. Thanks to Rigo, Audrey, Janet, Sam, Madeline, Erica, Natalie, Eli, Shadi, Sareeta and the Data and Society family.</p>
by Taeyoon Choi
Announcing Lecture Performance at the Whitney Museum2019-03-05T00:00:00+09:002019-03-05T00:00:00+09:00http://localhost:4000/posts/whitney<p><em>by Taeyoon Choi</em></p> - -<p><em>I’m excited to present the Distributed Web of Care project with my collaborators and stewards this month in New York City. Hope to meet you there!</em></p> - -<p><img src="http://distributedweb.care/static/images/og.jpg" alt="" /></p> - -<p>Distributed Web of Care at the Whitney Museum of American Art</p> - -<p>WED, Mar 27, 2019 -7 pm</p> - -<p><a href="https://whitney.org/events/distributed-web-of-care">Ticket</a></p> - -<p>Susan and John Hess Family Gallery and Theater</p> - -<p>This lecture-performance by Taeyoon Choi imagines a more equitable, caring Internet and asks: what kind of network do we want for the future? Choi engages in a conversation with Chancey Fleet, Jonathan Dahan, and stewards and students from the School for Poetic Computation to explore the poetics and politics of computation, the relationship between Internet privacy and collective agency, and alternative methods of communicating via peer-to-peer protocols. The discussion considers the Internet’s underlying structure and how bodily experiences of the Internet differ for disability communities and other marginalized groups. The conversation is followed by an interactive performance choreographed by Choi and Jerron Herman, accompanied by live audio from Tiri Kananuruk and stud1nt. The movements explore how it feels to be a node programmed in centralized, decentralized, and distributed networks.</p> - -<p>ASL interpretation and audio description are available.</p> - -<p>With <a href="http://heidilatskydance.org/current-company/g5n1f8y4lv3y48p7afxncbgmwlqbdx">Jerron Harman</a>, <a href="https://stud1nt.nyc/">stud1nt</a>, <a href="http://xxx.tiri.xxx/">Tiriree Kananuruk</a>, <a href="http://jedahan.com/">Jonathan Dahan</a>, <a href="http://twitter.com/ChanceyFleet">Chancey Fleet</a> and the <a href="http://sfpc.io">School for Poetic Computation</a></p> - -<p>Bibliography and inspiration: <a href="http://cultureandcommunication.org/galloway/">Alexander R. Galloway</a>, <a href="http://www.ariciano.com/">Ari Malenciano</a>, <a href="https://callil.com/">Callil Capuozzo</a>, <a href="http://christinesunkim.com/">Christine Sun Kim</a>, <a href="https://noranahidkhan.com">Nora Khan</a>, Cori Kresge, <a href="http://cleomiao.info/">Cleo Miao</a>, <a href="http://lifewinning.com/">Ingrid Burrington</a>, <a href="http://www.jessicalynne.co/">Jessica Lynne</a>, <a href="http://mindyseu.com/">Mindy Seu</a>, <a href="http://shannonfinnegan.com/">Shannon Finnegan</a>, <a href="http://wordsinspace.net/shannon/">Shannon Mattern</a>, <a href="http://www.poetryfoundation.org/poets/stephanie-gray">Stephanie Gray</a>, <a href="https://en.wikipedia.org/wiki/%C3%89douard_Glissant">Édouard Glissant</a>,</p> - -<p>Stewards: <a href="http://saltzshaker.github.io">Emily Saltz</a>, <a href="www.marcusbrittainfleming.com">Marcus Fleming</a>, <a href="http://www.jayspaper.com/">Suphitcha “Jan” Donsrichan</a>, <a href="carlos-sanchez.info">Carlos Sanchez</a>, <a href="https://www.lorihepner.com">Lori Hepner</a>, <a href="https://nahee.website/">Nahee Kim</a>, -<a href="mayaontheinter.net">Maya Man</a>, <a href="https://nataliafloreszalles.tumblr.com/">Natalia Flores Zalles</a>, Sarah McCaffery, <a href="https://twitter.com/chicanocyborg">Rigoberto Lara</a>, <a href="https://ashleyjanelewis.com/">Ashley Jane Lewis</a>, <a href="http://nitchafa.me/">Nitcha Fame Tothong</a>,</p> - -<p>Production: <a href="http://www.netabomani.com/">Neta Bomani</a>, <a href="http://www.emilymariemiller.com/">Emily Miller</a>, Livia Huang, <a href="http://www.shira-feldman.net/">Shira Feldman</a>, <a href="http://yhsong.com/">Yen Song</a>, <a href="https://cezar.io/">Cezar Mocan</a></p> +

One person (leader) has their right palm facing down.

-<p>The Whitney Museum of American Art Staff: Andrew Hawkes, Isabelle Dow, Justin Allen, Madison Zalopany, Max Chester, Megan Heuer, Sasha Wortzel</p> +

Another person (follower) has their right palm facing up.

-<p>Poster: <a href="https://www.instagram.com/markallenartjams/">Mark Allen</a></p> +

Their palms are touching. They communicate only with their touch, no sound.

-<p><a href="https://taeyoon-workshop.myshopify.com/products/dwc-poster">Posters</a> are on sale until April 14, 2019</p> +

The palm-down leader is guiding the follower around the room. With extreme care to the safety and wellness of the follower.

-<p>Postcard: <a href="http://coraliegourguechon.fr">Coralie Gourguechon</a></p> +

The activity leader instructs the group: at any point during the activity, the follower can turn their palm to face down. Then their roles change. The follower is now the leader and opens their eyes, and the leader is now the follower with their eyes closed.

-<p>Support: The Whitney Museum of American Art, <a href="http://codeforscience.org/">Code for Science and Society</a>, <a href="http://pioneerworks.org">Pioneer Works</a></p>
by Taeyoon Choi
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The activity continues.

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After about 10 minutes, the activity leader instructs the group they can exchange their followers using only eye contract to agree upon the exchange, no words.

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When two leaders have made eye contact and agreed, they gently exchange their partners who still have their eyes closed.

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After about 10 minutes, the activity leader instructs the group they can connect to other pairs, still using no words only eye contact agreement, and make a long line of followers / leaders.

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The leaders are now taking care of two or more followers. Those who are at the end of the line can switch the roles.

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String Networks – lead by Taeyoon and Cori

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Materials: a spool of soft strings or ribbons.

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Concept: Everyone is a node and the strings are the networks

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1. Centralized network

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The facilitator asks if someone wants to become a dictator of the network. The dictator can tell everyone what to do, where to connect, and how they connect.

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Dictator can connect the network themselves or ask another node to connect on behalf of their direction.

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2. Decentralized network

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The facilitator asks the group if there is a ‘Code of Conduct’ that they would like to have for the group. When everyone in the group agrees on five principles of the network, they self initiate the network.

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3. Distributed network

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The facilitator presents the rule: Everyone can join or leave the network anytime. When they join by touching the strings, they need to close their eyes and constantly be moving in small or large gestures. Whenever they desire, they can leave the network and open their eyes. They can cut the strings and create new network or modify and add new rules.

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4. Invisible network

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Now everyone is instructed to reenact the distributed network without the strings but moving their arms and bodies as though they are still holding string. They need to understand every movement they take on in the space will have effects on other people.

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All photographs by Christine Butler

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Video documentation

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About the Author:

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Cori Kresge is a NYC based dancer, collaborator, writer, and teacher. Kresge graduated from SUNY Purchase with a BFA in dance and the Dean’s Award. She was a member of the Sri Chinmoy Meditation Center and International Vocal Ensemble. Kresge has been a member of the Merce Cunningham Repertory Understudy Group, functioning as a living archive for Cunningham works from the 60’s, 70’s, and 80’s. In 2016 Kresge staged Cunningham’s Field Dances, an improvisational score, on students of CNDC, Angers, France. She has also been a member of José Navas/Compagnie Flak, and Stephen Petronio Company. Kresge currently collaborates and performs with various artists including Rashaun Mitchell+Silas Riener, Liz Magic Laser, Rebecca Lazier, Xavier Cha, Esmé Boyce, Ellen Cornfield, Sarah Skaggs, Bill Young, Wendy Osserman, Sally Silvers, The School for Poetic Computation, and film makers Alla Kovgan, Zuzka Kurtz, and Charles Atlas. She has taught technique and improvisation at NYU Tisch School of the Arts, Bard College, Dickinson College, Barnard College, Princeton University, the Dalton School, and other institutions. Kresge also teaches the Little Creators preschool program at Church Street School for Music and Art in NYC. She is currently studying Zero Balancing, a therapeutic bodywork.

]]>Who Owns the Stars: The Trouble with Urbit2019-05-04T00:00:00-04:002019-05-04T00:00:00-04:00http://localhost:4000/posts/who-owns-the-starsby Francis Tseng

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The application that introduced peer-to-peer (P2P) computing to the mainstream was file sharing, services like Napster, Kazaa, Gnutella, and BitTorrent. For me, these programs were the first time the contradiction of artificial scarcity—the imposed scarcity of infinitely replicable digital information—and the excessive measures that were used to enforce it became startlingly clear. Over time, I encountered the term P2P in other settings and alongside other ideas—democratic governance, communalism, autonomy, cooperatives—and I started to see the purchase this idea had beyond file sharing and networking protocols.

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The P2P Foundation’s mission and strategic priorities, for example, extend the early P2P ideas of open culture and exchange into values of cooperative living and regenerative production. Scuttlebutt, a more recent P2P social networking protocol, has its own “principles stack” that similarly advocates pluralistic exchange and mutual interdependence. It’s beautiful how, at least in the ideal scenario, by using a P2P service we are helping others access it as well. P2P is both an acknowledgment of our shared needs and an example of how cooperation helps us fulfill those needs.

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Over the years, I’ve followed along with P2P projects because of these shared values, and I always find it exciting when new projects emerge. It seems that P2P is experiencing something of a renaissance, likely due to the frenzy around blockchain (which purports to offer something similar to P2P) and the increasing popular anxiety around centralized internet services like Facebook.

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Urbit, “a personal server built from scratch,” first came across my radar a couple of years ago. Urbit positions itself as a P2P project, but it stands out in contrast to other P2P projects, mainly because the person behind it, Curtis Yarvin, seems antithetical to what I understand P2P to represent.

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My central question is this: Is Urbit a project that should be supported?

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We can further break this down into two parts. First, Urbit’s marketing materials correctly identify that concentrated data aggregation and decision-making power are fundamental issues of the internet-as-we-know-it. Twitter’s persistent neglect of harassment on its platform is one everyday example. It is clear that new protocols and platforms that reduce our dependency on distant power are needed to challenge these issues. What’s less clear, though, is whether or not Urbit actually offers a meaningful alternative. Does Urbit genuinely enable new kinds of relations? Or, does it merely replace the old aristocracy with a new one?

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The second, and more urgent, question is: who and what are we supporting by supporting Urbit? Many people in tech still believe that technology can be divorced from its creators; however, those of us in tech need to recognize that we have a considerable amount of influence over which products enter the mainstream consciousness, which products get created at all, and who receives both financial and social capital (shout out to Tech Workers Coalition et al.). For example, consider Peter Thiel , who co-founded PayPal and was an early investor in Facebook. Early support of PayPal and Facebook contributed to their financial success, which developed Thiel’s influence and made him quite rich. Thiel then turned that money and influence into Palantir Technologies, a software company that develops technologies to help expand surveillance and deportation for the government. We have to consider what similar groundwork we help to lay by supporting Urbit.

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Context

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In order to discuss Urbit’s design, we need to have an understanding of the politics of its creator, Curtis Yarvin. Curtis Yarvin is innocuously described on Wikipedia as an “American political theorist and computer scientist,” but to many, he is better known as one of the intellectual forebears of the alt-right. From 2007 to 20141, working under the pen name Mencius Moldbug, Yarvin writings, which among other things espoused anti-democratic ideas and scientific racism and helped introduce many of what are now understood as the alt-right’s foundational ideologies to a wider public. The term “red pill,” which describes the process of reactionary radicalization and the community around it, was first used in this way by Yarvin.2 Defenders of Urbit are quick to dismiss any inclusion of Yarvin’s politics in discussions about Urbit as unfair or irrelevant, and might point out that Yarvin left the project in January of this year.3 However, given that Yarvin basically laid out the general design for Urbit independently, as he worked on it alone for 11 years3 and in parallel with his political writings4, and that Urbit, as a P2P project, is a fundamentally social and thus incorporates ideas about how people should be organized, Yarvin’s politics should be considered as something that influences his design decisions and his long-term vision for the project. Dog-whistles have been identified in some of his writing about Urbit and its design, including his leaning on Nazi philosopher Carl Schmitt for questions around Urbit’s governance.

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To save space I’ll provide only a very brief overview of Yarvin’s political philosophy—if you like, you can read more about it here, here, here, and here.

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Yavin refers to his brand of political philosophy as “neocameralism.” Neocameralism, as described in his essay “Against Political Freedom,” is a political philosophy arguing that state should be run like a business, (i.e., with a CEO at its head and no democratic mechanisms). His ideas are credited as being foundational to the “neoreactionary” movement, which could be described as a neo-monarchist movement (though Yarvin himself doesn’t identify as a “monarchist” because of its association with a constitutional monarchy and not absolute monarchy). In the neoreactionary movement, “divine right” is supplanted with “genetic right” based on scientific racism reframed as “human biodiversity.” Yarvin’s writings are also popular within the right-libertarian sects of Silicon Valley, such as with Peter Thiel (Peter Thiel also has a stake in Tlön, Yarvin’s company which develops Urbit, via Thiel’s VC firm, Founders Fund). The point here is that Yarvin is not a fringe philosopher. His writings have influence over people with considerable power and contributes to the intellectual miasma that emboldens and normalizes anti-democratic, anti-immigrant, misogynistic, and racist policies and attacks.

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Urbit

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A self-sovereign internet

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Urbit positions itself as infrastructure for self-sovereignty in the digital age, liberating people from ceding control of their data to corporations.5 The core idea is that Urbit helps you run a personal server that acts as an intermediary between you and other services, including existing services like Facebook (yes, there is a lot more to Urbit—such as its reinvention of parts of the lower-level computational stack—but its P2P layer is what’s of interest here).

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Self-sovereignty is an important principle, and I wager that many who regularly use the internet would agree that more of it is valuable for a healthy internet: for being able to control who can access your data, who can and cannot contact you, and so on. But, self-sovereignty is far too vague of a concept on its own. Left- and right-libertarianism both start with self-sovereignty as a core value, but they end up with vastly different conceptions of what meaningful self-sovereignty looks like and how it can be achieved. Left-libertarianism finds that self-sovereignty arises from social organizing, care, and democratic governance, which build towards positive freedoms (freedom to learn, to flourish, and so on); whereas, right-libertarianism believes it comes from the market and that negative freedoms (freedom from restrictions and regulation) are the goal. Though Yarvin does not identify as a libertarian (he is, in his own words, sympathetic to it), his neocameralism is right-libertarianism taken to its logical conclusion6 of corporate tyranny and serfdom.

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To draw an example that you might be familiar with, consider the Twitter-alternative, Gab, which markets itself as a bastion for free speech. Gab, in practice, operates as a niche platform for members of the far-right who have been banned from Twitter: “a haven for white nationalists, neo-Nazis and other extremists”. We might ask then, is Gab a platform for free speech, or is it a platform for hate speech? Who’s speech does Gab prioritize? It quickly becomes clear that the concept of “free speech” that Gab deploys is not quite the same as what others see it to mean.

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In a similar way, this slipperiness of self-sovereignty as a concept, especially in light of Yarvin’s political writings, makes me suspicious of what it really means in the context of Urbit. Is Urbit actually designed to give users more autonomy and control? Does it restore any power to internet users?

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One central design feature of Urbit is its network hierarchy. As a participant in Urbit, you may be a galaxy (the top of the hierarchy), a star (which fall under galaxies), or a planet (which fall under stars). The description of this hierarchy used to use explicitly feudal metaphors as part of what Yarvin called “digital feudalism,” with himself as the “prince,” and further contributes to my suspicion of Yarvin’s conception of self-sovereignty actually entails.

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In trying to backpedal on these naming conventions, Yarvin claims that his ideas about governance are flipped for the internet:

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If the real world today is governed as an insanely dysfunctional republic, and the Internet today is governed as a cluster of insanely despotic corporate monarchies, it doesn’t strike me as at all inconsistent with historical thought to treat the former case of misgovernment with efficient monarchism, and the latter case with liberating republicanism.7

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The rationale for why the opposite is the ideal in each case—beyond contrarianism, at least—is unclear. We should dig into how Urbit’s governance is laid out to better understand what’s going on here.

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Urbit’s primary governance model is a “self-governing digital republic” where “authority is proportional to property.8 Galaxies, stars, and planets are conceived of as property to be purchased and in limited supply, and one’s power within Urbit is determined by what tier of ownership they occupy and how much they own. The republic is structured as a “three-chambered legislature balanced against itself,” where galaxies, stars, and planets constitute the three tiers. There is not much detail on how this government would operate, other than an interim constitution, which doesn’t describe how these tiers actually balance each other. For instance, the “planetary assembly”, which manages technical governance, doesn’t have any oversight of the “stellar congress”, which manages internal governance, or the “galactic senate”, which selects consuls, who hold “full authority” in this interim.9 When it comes to the stars and galaxies, the extent of your political agency as a planet is exit—that is, the only meaningful action you can take is to move to a different host star.10

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This notion of “exit,” which is popular among Silicon Valley libertarians like Peter Thiel11, is a key part of Yarvin’s political philosophy. It is summarized as, in Yarvin’s own words as: “If residents don’t like their government, they can and should move.”12 Of course, this formulation of mobility as the ultimate form of political action neglects all the actual complications of uprooting yourself (leaving behind friends, family, and history), the question of whether or not any other place will accept you (e.g., in the case of borders or discrimination), and reduces your political expression to a single vote.

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Obviously, exit in a digital context is logistically simpler than in a physical one, but it is still not easy. People critical of Twitter’s policies still use Twitter, not because they are hypocritical but because it’s a lot of effort to migrate to a new platform and re-establish connections from the former. People critical of Facebook may remain because it’s the only connection they have to some friends and family members. In both of these cases, having some mechanisms for democratic oversight would be more effective than showing people the door.

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There are still further issues with exiting. For example, I may be unable to exit if, perhaps for discriminatory reasons, I cannot find a star that is willing to host me. Or, I may be unable to establish my own star if no one is willing to sell to me for similar reasons. Additionally, we are forced to ask, How bad do things have to get before I decide to exit? Do I just have to endure everything below that threshold? The point of other (democratic) forms of political voice and agency are that they allow us to have a nuanced process of change, one that allows for fundamental shifts as well as the fine-tuning that is inevitably necessary. Limiting one’s political agency to exit, dismisses any potential for incremental change or open discussion—basically, if you don’t like the way things are, you can go. Otherwise, shut up and take it.

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Property, ownership, and power

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Because “authority is proportional to property” in Urbit, we should look more closely at how ownership is understood and operates in its design.8 In his farewell, Yarvin, out of ignorance or for rhetorical purposes, does not seem to recognize how ownership is a power relation. This is especially baffling because, as just quoted, in Urbit power and ownership are explicitly linked. Somehow in Yarvin’s broader understanding of things, property ownership is “random” and this means we should just let it be:

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When you live in Manhattan, you simply don’t worry about who owns it or why; and nor does it matter. Are they Jews? Muslims? Christians? Communists? Italians? You don’t care and you don’t have to. You know it’s basically random and probably unfair. Randomness, even blatant unfairness, creates a kind of neutral, peaceful, even promising urban anonymity.3

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However, contrary to Yarvin’s claims, who owns what in Manhattan matters to a great many people. With apartments left vacant to be used as investment vehicles, or else in low-use because it’s more profitable to rent them out as Airbnbs, many people are rightfully critical of who owns (and profits) from these properties—properties that could, among other things, serve to house some New York’s homeless population. Likewise, people are critical of how the developers who own large portions of the city use their positions to lobby state government to compound and expand their influence. Whether or not the current allocation of Manhattan’s space is random (how developers lobby local government is a clear example that it’s not) or unfair does not mean we should throw up our hands and let it be. This line of argumentation is a red herring to deter questioning the property-power dynamics that undergird Urbit’s design.

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If power in Urbit is predicated on ownership, then it’s worth asking who owns what. The distribution of galaxies (as of 2016 at least) puts 185 of the 256 in the hands of Tlön, Tlön’s employees, and urbit.org (which is currently under management and ownership of Tlön). The story for stars is not much different: 57.62% of stars (almost 38,000 of the 65,500 stars) are also owned by Tlön, its employees, and urbit.org. Even with Urbit’s tiered hierarchical structure, which ostensibly decentralizes power, we can see that power is quite concentrated (which they acknowledge).9

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This comparison to Manhattan calls back to Urbit developers’ comparison of their system to land.8 Urbit’s design creates a class of digital landlords who are the primary political authorities. There are obviously significant differences between physical land and digital space, but it strikes me as a regression to reproduce land scarcity (and rent-seeking structures) in cyberspace. For Urbit’s digital land, scarcity has to be manufactured, and manufactured digital scarcity seems antithetical to P2P values—where the easy replicability of data represents new opportunities and alternatives to the crude economies we’ve stumbled through in the physical world.

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How then does Urbit justify this manufactured scarcity? The primary reason is as a defense against Sybil attacks—a class of attacks endemic to pretty much any digital networking system where adversaries can generate identities in bulk to attack the system (e.g., DDoS attacks or spam).1385 Spam is something like a Sybil attack—it’s easy to make tons of email addresses and use them to bombard people.

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The paper that introduced Sybil attacks proved that there is no way to altogether prevent such attacks without introducing a centralized identity-verification authority.14 In the case of spam this would be like one organization that manages a global registry of non-spam emails. There are, however, ways to make Sybil attacks more expensive and thus less feasible to execute. In the case of Urbit, the scarcity is meant to compel prices for stars and planets such that they are too expensive for an attacker to purchase in bulk.8

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There are other decentralized Sybil-defense schemes proposed for P2P networking. Some introduce cryptographic puzzles, similar to Bitcoin’s proof-of-work.151617 Others are based on explicit trust in social networks.181920 These approaches aren’t without their flaws—Sybil attacks can’t be completely prevented, after all—but, crucially, these schemes don’t introduce points of centralization that require concentrated trust or introduce authorities that can exclude non-adversarial actors from the network. Because Urbit’s supply is explicitly controlled by owners of galaxies and stars, they can deny people access for any arbitrary reason. This is especially concerning because of the aforementioned concentration of Urbit property.

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Yet even though Urbit’s design grants political power proportionally to ownership, “[f]or the interim, full authority is held by the (Roman style) consulate.”9 Urbit is functionally an authoritarian regime for now. It is designed to decentralize eventually—Urbit documentation acknowledges a need to spread out ownership of its assets.8 But, given the initial distribution of galaxies—95 galaxies to the Tlön Corporation; 50 to urbit.org (the future community foundation); 40 to Tlön employees and their family members (24 to Yarvin, who started in 2002, and 16 to everyone else who started in 2014); 34 to outside investors in Tlön; and 37 galaxies to 33 other individuals, who donated to the project, contributed code or services, won a contest, or were just in the right place at the right time—it isn’t clear what kind of further distribution of ownership they have in mind, or even whether it will be meaningful. More troubling still is that in their own words, Urbit describes this distribution as being spread “across a diverse set of entities,”8 when it seems to only encompass people in their immediate networks. This arrangement is reminiscent of Manhattan real estate: the earlier you got in, the more ownership, and thus power, you accrued.

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Furthermore, “decentralization” when used to describe governance is notoriously slippery, especially in blockchain and blockchain-adjacent contexts such as P2P. What does it mean for a government to be meaningfully decentralized? If galaxies and stars become prohibitively expensive to the point where only the wealthy can purchase them, does that lead to a decentralized government? Decentralization also says nothing about representative ratios. In the US, we have 535 members of Congress representing 320 million Americans; if Urbit achieves full adoption, there’ would be 256 galactic senate members representing 4.3 billion planets.

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There’s nothing to suggest that Urbit even cares about how representative its governance structures are. The word “democratic” is scarce across descriptions of Urbit’s governance. “Democracy” only appears once throughout all of urbit.org, and it is in a sarcastic quote. The term also appears in an older document, and its use is telling: “Urbit will never be a democracy, but it should always remain a republic.”21 In that same document, Yarvin does mention that the dukes (now “galaxies” in the new terminology) will be organized democratically, but this is consistent with the republic formulation.21

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This, combined with Yarvin’s admiration of the Roman Principate as an example of a government that “retain[s] the symbolic structures of democracy”6 while being autocratic in practice (the Roman Principate was ruled by an emperor but maintained a superficial senate for the appearance of a continuing republic), gives me reason to doubt the intentions around governance here. A new internet under this regime could easily turn out to be just as bad as or worse than it is now.

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Who Urbit Supports

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While Yarvin is officially removed from the further design and development of Urbit, he still maintains a minority share in Tlön and a few thousand stars (he is “probably the only individual with a fair amount of Urbit address space”). His departure at this point is not enough to counteract his heavy, and at times exclusive, involvement in Urbit’s foundational design and development.

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For me, there is an issue that goes beyond Urbit’s design and future ambitions. It comes down to the fact that if I were to support Urbit, I would also be supporting Yarvin—he still has a substantial stake in its success and, like any network-based platform, the value of Urbit increases the more people use it. At least some people do support Urbit because they support Yarvin’s politics. Yarvin’s years writing as Mencius Moldbug were possible because of money made during the dot-com boom. After announcing his departure, people have expressed excitement around his return to writing, so we may see further works of political philosophy from him. Even if Yarvin were to never write again, the success of Urbit is likely to draw attention to its creator—and introduce more people to his past writings.

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Beyond introducing Yarvin’s writings to new audiences, we should also consider how supporting Urbit supports Yarvin more directly. We can get a rough sense of Yarvin’s financial stake in Urbit, leaving aside speculation about his financial stake in Tlön itself:

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There are 256 galaxies and 65,536 stars across all of Urbit.8 There are roughly 4.3 billion planets that were initially evenly distributed across stars, so each star started with 65,000 planets.22 In the long-run Urbit developers believe $10 to be a fair price for a planet.23 Assuming that the price eventually converges to $10 per planet and Urbit achieves widespread adoption, then each star is worth $650k in planet real estate alone. Planets are also expected to pay a monthly fee to their stars for routing services (which is the bare minimum service; the star may choose to offer services as well).24 This fee is estimated to be anywhere from $10–$100 per month.22

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Let’s assume the lower end, that $10/month is required for the routing services. If a star sells all of its planets and they remain under that star, that’s potentially another $650k in revenue per month. When we consider that Yarvin owns “a few percent of all stars” (which is thousands of stars)3, if Urbit does achieve widespread adoption, then that is a staggering amount of wealth. Yarvin’s nominal departure from Urbit does not change the fact that he stands to gain tremendously from its success.

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What does an internet in which Urbit achieves widespread adoption look like? I’m not sure it would look much different. You would have a personal server, sure; but then there would then be a new infrastructural layer between you and your ISP (who you’ll still have to pay) owned by another class of rentiers who you’ll also pay. One of the great appeals of P2P is that routing occurs almost as a side-effect of everyone using the internet, so by being online, you help others be online at essentially no additional cost. Urbit abandons this P2P property of mutual aid such that the property and power relations of the internet are mostly kept intact.

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Of course, it’s not certain—or even likely—that Urbit will ever achieve this level of adoption and value. What is clear, however, is that if I were to support Urbit, then I would, even in a small way, be making its spread and adoption all the more likely. We already spend so much of our time and money supporting regimes of violence, oppression, and inequality by merely existing in a capitalist society. These relationships are hard to break because they are so deeply established and entrenched within culture and the market. Urbit is not yet entrenched in the same way, and I do not want to help it get there. I want to have no part in supporting Yarvin or any other project or creator whose underlying ideology is hateful, reactionary, or anti-democratic.

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Closing Words

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Urbit is still in such a nascent state with much left ambiguous. Its value (or your expectations of its value) largely depends on how much you trust the people behind it. It’s hard for me to trust people who have no problem working for someone like Yarvin who has actively contributed to the re-emergence of white supremacy and anti-democratic ideas, or who would go so far to dismiss Yarvin’s Nazi apologia (“What’s so bad about Nazis?”) as “trolling.

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Tlön, Uqbar, Orbis Tertius,” the Borges story where Yarvin’s company gets its name, describes a secret society, Orbis Tertius, that architects an entirely new world, Tlön, by publishing an encyclopedia describing it. Over time, bits of this fictional world begin to emerge in the real world, consuming it, such that “[t]he world will be Tlön.” What ideas are Yarvin’s Tlön trying to manifest in our world? What world would Yarvin seek to manifest with his new wealth?

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In asking these questions, we should consider them not only as tools for evaluating similar projects but also as criteria with we might develop new projects. What ideas do we want to manifest in our world? I absolutely agree that what Urbit positions itself against—an internet dominated by concentrated corporate interests and surveillance infrastructure—is something that internet technologists need to build alternatives to. But we shouldn’t replace it with another system of undemocratic control or one that supports far-right intellectuals. I hope to see more P2P projects that commit to most promising values of P2P systems—plurality, democracy, mutual interdependence, sharing, and cooperation—as they take on the difficult but necessary task of creating egalitarian platforms and infrastructure, rather than rehashing the old hierarchies. P2P computing is still a burgeoning technology, and while there are projects like Scuttlebutt, Beaker Browser, and the various Fediverse projects, which all reflect its potential, there is plenty of room for more.

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Additional acknowledgements: thanks to Dan Taeyoung and Matt Goerzen for their comments and insights.

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About the Author:

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Francis Tseng in an engineer working primarily with simulation and machine learning. His research interests include climate change, tech autonomy, and traps. He is currently a fellow at the Jain Family Institute. Formerly, he taught at the New School and co-published The New Inquiry.

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