PublicationUnfolded

Resources and reading list / Ressources et liste de lecture / Bronnen en leeslijst

Histoires d'archives autrement

• Achille Mbembe (2002), The Power of the Archive and its Limits
• Elizabeth Povinelli (2011), The Woman on the Other Side of the Wall: Archiving the Otherwise in Postcolonial Digital Archives
• Ann Laura Stoler (2002), Colonial archive and the arts of governance
• Stuart Hall (2001), Constituting an archive
• Paul Basu, Ferdinand de Jong (2014), Utopian archives, decolonial affordances
• Walter D. Mignolo (2009), Epistemic disobedience, independent thought and de-colonial freedom. In: Theory, Culture & Society
• Alexandra Juhasz (2016), The opposite of archiving: Zoe Leonard, Fae Richards, and the Watermelon Woman
• Geoff Cox, Nicolas Malevé, Michael Murtaugh (2014), Archiving the Data-body: human and nonhuman agency in the documents of Kurenniemi
• Marika Cifor, Stacy Wood (2017), Critical Feminism in the Archives
• Rodney G.S. Carter (2006), Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence
• Nicole Robert (2014), Getting intersectional in museums

Dekolonisatie op z’n Belgisch

• Matthias De Groof et Mona Mpembele, avec intervention de Toma Muteba Luntumbue (2018), The Palimpsest of the Africa Museum
• Neika Lehman, Maddee Clark (2018), The Unbearable Hotness of Decolonisation
• Jeanne Coppens, Benjamine Laini Lusalusa, Léa Grégoire (2018), Another Tervuren - Renovation as reparation?, KUMBUKA - Zine Décolonial
• Bambi Cueppens (2005), Mark groet 's morgens de dingen

Techno-decolonialism + intersectional technologies

• Jessica Ogden, Susan Halford, Les Carr, Graeme Earl (2015), This is For Everyone? Steps towards decolonizing the Web
• Panel discussion: Geoffrey Bowker, Solon Barocas and Antoinette Rouvroy; moderation: Seda Guerses (2015), Discrimination and big data
• Roel Roscam Abbing, Peggy Pierrot (2018), Modifying the Universal
• Geraldine Juarez (2016), Intercolonial Technogalactic
• Syed Mustafa Ali (2016), A brief introduction to decolonial computing
• Kavitah Philip, Lili Irani, Paul Dourish (2012), Postcolonial Computing: A Tactical Survey
• Wolfgang Ernst (2016), Radically De-Historicising the Archive. Decolonising Archival Memory from the Supremacy of Historical Discourse
• Wendy Hui Kyong Chun (2009), Race and/as Technology; or, How to Do Things to Race
• Zach Blas & Micha Carde (2015), Imaginary computational systems: queer technologies and transreal aesthetics
• Jacob Gaboury (2018), Critical Unmaking: Toward a Queer Computation
• Noah Tsika (2016), CompuQueer: Protocological Constraints, Algorithmic Streamlining, and the Search for Queer Methods Online
• Roopika Risam (2015), Beyond the Margins: Intersectionality and the Digital Humanities

Biographies / Biographies / Biografieën

Rahel Aima

is a writer and editor based between Brooklyn and Dubai, and a contributing editor at The New Inquiry.

est une écrivaine et rédactrice basée à Brooklyn et Dubaï, et contributrice à The New Inquiry.

is schrijver en redacteur, gevestigd tussen Brooklyn en Dubai. Ze is redacteur van en levert bijdragen aan The New Inquiry.

Algolit

Algolit is a workgroup around i-literature, free code and texts. It was initiated by Constant in 2012. The group meets regularly following the principles of the Oulipo-meetings: they share work and thoughts and create together, with or without the company of an invitee. Algolit is open to anyone interested in exchanging practises around digital ways of reading and writing.

Algolit est un groupe de travail autour de la i-littérature, du code libre et des textes. Il a été initié par Constant en 2012. Le groupe se réunit régulièrement selon les principes des réunions de l'Oulipo : iels partagent leurs travaux et leurs réflexions et créent ensemble, avec ou sans la compagnie d'un.e invité.e. Algolit est ouvert à toute personne intéressée par l'échange de pratiques autour des modes numériques de lecture et d'écriture.

Algolit is een werkgroep rond i-literatuur, vrije code en teksten geïnitieerd door Constant in 2012. De groep komt regelmatig samen volgens de principes van de Oulipo-meetings: ze delen werk en ideeën met elkaar uit, en maken samen werk, met of zonder gezelschap van een genodigde. Algolit staat open voor iedereen die geïnteresseerd is in het uitwisselen van praktijken rond digitale lees- en schrijfwijzen.

Ariella Aïsha Azoulay

is an author, art curator, filmmaker, and theorist of photography and visual culture. She is a professor of Modern Culture and Media and the Department of Comparative Literature at Brown University.

est une auteure, curatrice, cinéaste et une théoricienne de la photographie et de la culture visuelle. Elle est professeure de culture moderne et de médias et du département de littérature comparée à l'université de Brown.

is auteur, curator, filmmaker en theoreticus op het gebied van fotografie en beeldcultuur. Ze is hoogleraar Moderne Cultuur en Media en de afdeling Vergelijkende Literatuur aan de Brown University.

Z. Blace / Z.

was born 1976 in Čapljina/Socialist Federative Republic of Yugoslavia, (in+)consistently working (in-)between fields of contemporary culture and arts, digital technology and media, community sports and activism — by cross-pollinating queer perspectives and commoning practices... Z. co-founded Multimedia Institute/MaMa in Zagreb, researched generative media, software art, streaming aesthetics, operating systems, net tools/technologies, but also QueerSport as tensions between normativity and queer expressions and instigated critical and creative sport/ccSPORT as trans-local connective.

est originaire de Čapljina/République fédérative socialiste de Yougoslavie, et travaille (in+)constamment entre les domaines de la culture, des arts contemporains, de la technologie et des médias numériques, des sports communautaires et de l'activisme - en croisant les perspectives et les pratiques queers communes... Z. a co-fondé le Multimedia Institute/MaMa à Zagreb, a fait des recherches sur les médias génératifs, l’art logiciel, l’esthétique du streaming, les systèmes d’exploitation et les outils/technologies réseau. Avec QueerSport, Z. regarde les tensions entre normativité et expressions queer en instiguant un sport critique et créatif / ccSPORT comme connectif translocal.

is actief op meerdere domeinen: cultuur, activisme, media en sport. Z. heeft een achtergrond in media, kunst en design en een affiniteit met vrije cultuur. Z. maakt video- en installatie kunst maar ook generatieve media, net art en computer game art. Op dit moment speelt zijn praktijk zich vooral af op het gebied tussen sport en media. Z. onderzoek richt zich op QueerSport en de spanningen tussen sportnormativiteit en queer uitdrukkingsvormen.

Anaïs Berck

is a tree greffier. She invented the word in order to integrate her activities as a nature guide, writer, artist-programmer and practitioner of meditation. Anaïs likes to explore the presence of and care for flora in the physical world, as well as in the digitized world. By combining sensorial and technical tools, she gives form to stories that live where the physical and the virtual meet.

est une greffeuse d’arbres. Elle a inventé le mot afin d’intégrer ses activités de guide nature, d’écrivaine, d’artiste-programmeuse et de praticienne de la méditation. Anaïs aime explorer la présence de la flore, en prendre soin soit dans le monde physique, mais aussi dans le monde numérique. En combinant des outils sensoriels et techniques, elle donne forme à des histoires qui vivent là où le physique et le virtuel se rencontrent.

is een boomgreffier. Ze heeft het woord uitgevonden om haar activiteiten als natuurgids, schrijfster, kunstenaar-programmeur en beoefenaar van meditatie te integreren. Anaïs verkent graag de aanwezigheid van en zorg voor flora in de fysieke wereld, maar ook in de gedigitaliseerde wereld. Door het combineren van zintuiglijke en technische hulpmiddelen geeft ze vorm aan verhalen die zich op de grens van het fysieke en het virtuele afspelen.

Gert Biesta

is a Dutch (educational) pedagogue. He is Professor of Public Education at the Centre for Public Education and Pedagogy of Maynooth University in Ireland, as well as visiting Professor at NLA University College & University of Agder, Norway. He also holds the chair established by NIVOZ as extraordinary professor of Pedagogical Dimensions of Education, Training and Education at the University of Humanistics. Between 2015 and 2019 he was an associate member of the Dutch Education Council.

est un pédagogue (éducatif) néerlandais. Il est professeur d'éducation publique au Centre pour l'éducation publique et la pédagogie de l'université de Maynooth en Irlande, ainsi que professeur invité au Collège universitaire NLA et à l'université d'Agder, en Norvège. Il est également titulaire de la chaire créée par NIVOZ en tant que professeur extraordinaire des dimensions pédagogiques de l'éducation, de la formation et de l'enseignement à l'université de sciences humaines. Entre 2015 et 2019, il a été membre associé du Conseil néerlandais de l'éducation.

is een Nederlandse (onderwijs)pedagoog. Hij is als hoogleraar ‘Public Education’ verbonden aan het Centre for Public Education and Pedagogy van Maynooth University in Ierland, alsmede bezoekend Professor aan de NLA University College & University van Agder, Noorwegen. Tevens bekleedt hij de door het NIVOZ opgerichte leerstoel als bijzonder hoogleraar Pedagogische dimensies van Onderwijs, Opleiding en Vorming aan de Universiteit voor Humanistiek. Tussen 2015 en 2019 was hij geassocieerd lid van de Nederlandse onderwijsraad.

Daniel Blanga Gubbay

Daniel Blanga Gubbay is a Brussels based curator and researcher. He is currently at the artistic co-direction of the Kunstenfestivaldesarts. He graduated with Giorgio Agamben at IUAV in Venice and he holds a phD in Cultural Studies in Palermo and Berlin. In 2014 he founded Aleppo, a Brussels-based cultural platform for public performance programs and discursive practices. He worked as co-curator for LiveWorks, a performing arts production and residency program at Centrale Fies and from 2015 to 2019 he was head of the Department of Arts and Choreography (ISAC) of the Académie Royale des Beaux Arts, in Brussels.

Daniel Blanga Gubbay est un curateur et chercheur basé à Bruxelles. Il est actuellement à la codirection artistique du Kunstenfestivaldesarts. Il est diplômé de Giorgio Agamben à l'IUAV de Venise et est titulaire d'un doctorat en études culturelles à Palerme et Berlin. En 2014, il a fondé Alep, une plateforme culturelle basée à Bruxelles pour les programmes de performances publiques et les pratiques discursives. Il a travaillé comme co-curateur pour LiveWorks, un programme de production et de résidence d'arts de la scène à Centrale Fies et de 2015 à 2019, il a dirigé le département des arts et de la chorégraphie (ISAC) de l'Académie Royale des Beaux Arts, à Bruxelles.

is een Brusselse curator en onderzoeker. Hij maakt momenteel deel uit van de artistieke co-directie van het Kunstenfestivaldesarts. Hij studeerde met Giorgio Agamben aan het IUAV in Venetië en hij heeft een doctoraat in Culturele Studies in Palermo en Berlijn. In 2014 richtte hij Aleppo op, een Brussels cultureel platform voor publieke performance programma's en discursieve praktijken. Hij werkte als co-curator voor LiveWorks, een productie en residentieprogramma voor podiumkunsten bij Centrale Fies en van 2015 tot 2019 was hij hoofd van het departement Kunst en Choreografie (ISAC) van de Académie Royale des Beaux Arts in Brussel.

Martin Campillo

took part in the DiVersions worksession in 2016 and developed with Marie Lécrivain the concept for Collection of uncertainties.

a participé à la session de travail DiVersions en 2016 et a développé avec Marie Lecrivain le concept de Collection des incertitudes.

nam deel aan de DiVersies werksessie in 2016 en ontwikkelde met Marie Lecrivain het concept voor Collectie van onzekerheded.

Cristina Cochior

is a researcher and designer working in the Netherlands. With an interest in automation practices, disruption of the interface and peer to machine knowledge production, her practice consists of research investigations into technical and bureaucratic knowledge sharing systems. http://randomiser.info/

chercheuse et designer travaillant aux Pays-Bas. Elle s’intéresse aux pratiques d’automatisation, à la perturbation de l’interface et à la production de connaissances de pair à machine, sa pratique s'applique à des recherches sur les systèmes de partage des connaissances techniques et bureaucratiques. http://randomiser.info/

is een onderzoekster en ontwerpster met interesse in automatiseringspraktijken, en manieren om met interfaces en peer-to-machine-kennisproductie te experimenteren. Haar praktijk bestaat uit onderzoek naar technische en bureaucratische kennisuitwisselingssystemen. http://randomiser.info/

Sara Kaerts

is “Diversity” staff member at the Werkplaats immaterieel erfgoed. She cares for the richness and abundance of immaterial heritage practices, and attends to the multiplicity of signs and voices in its daily practice.

est membre du personnel à Werkplaats immaterieel erfgoed, et s’occupe de la ‘diversité’. Elle prête attention à la richesse et l’abondance des pratiques du patrimoine immatériel et veille à la multiplicité des signes et des voix dans sa pratique quotidienne.

is stafmedewerker bij de Werkplaats immaterieel erfgoed. Ze weet als geen ander wat het begrip diversiteit in praktijk betekent. Bewaakt de rijkdom en veelheid aan immaterieel-erfgoedpraktijken, -insteken en -stemmen in de dagelijkse werking.

Phil Langley

is an architect and ‘computational designer’ from London. Phil develops critical approaches to technology and software used in architectural practice and more generally for spatial design. Phil developed a number of software prototypes that show how software mediates in design.

est architecte et designer informatique basé à Londres. Phil développe des approches critiques de la technologie et des logiciels utilisés dans la pratique architecturale et plus généralement pour le design spatial. Phil a développé plusieurs prototypes de logiciels qui montrent comment le logiciel joue un rôle de médiateur dans le design.

is een architect en ‘computational designer’ uit Londen. Phil ontwikkelt kritische benaderingen van technologie en software die gebruikt wordt in de architectuurpraktijk en meer algemeen voor ruimtelijk ontwerp. Phil ontwikkelde een aantal software prototypes die laten zien hoe software bemiddelt in design.

Marie Lécrivain

is based between Brussels and Belfort. After graduating in Cultural Studies at KU Leuven and Editorial Design at erg, Brussels, she works in collaboration with cultural institutions. Her interests include exploring the links between art and publishing practices, heritage collections and on-line/on-site research & mediation tools.

est basée entre Bruxelles et Belfort. Diplômée en Cultural Studies à la KU Leuven et Design Éditorial à l’erg, Bruxelles, elle travaille en collaboration avec différentes institutions culturelles. Elle s’intéresse aux liens entre pratiques artistiques et édition, les collections patrimoniales et leurs modes de médiation.

werkt met instellingen rond kunst, design, publiceren en erfgoed. Ze studeerde af aan de Faculteit der Kunsten van de KU Leuven met een MA in Culturele Studies in 2016 en met een Master in Redactionele Vormgeving aan de erg. Haar interesse gaat onder meer uit naar het verband tussen kunst en uitgeverspraktijken, erfgoedcollecties en on-line/on-site onderzoek en tools voor mediatie.

Nicolas Malevé

is a visual artist, computer programmer and data activist, who lives and works between Brussels and London. Nicolas is currently working on a PhD thesis on the algorithms of vision at the London South Bank University in collaboration with The Photographers’ Gallery.

est un artiste visuel, programmeur informatique et un activiste des données, qui vit et travaille entre Bruxelles et Londres. Nicolas est actuellement en thèse de doctorat sur les algorithmes de la vision à la London South Bank University en collaboration avec The Photographers’ Gallery.

is beeldend kunstenaar, computer programmeur en data-activist. Op dit moment woont en werkt hij tussen Brussel en Londen aan een onderzoek naar hoe en waarom machinale normen over ‘kijken’ in Computer Vision algoritmes worden geïmplementeerd.

Zoumana Meïté

is a performer and theatre-maker based in Brussels with a practice in artistic research, dramaturgy and improvisation. He concluded the post-master programme in a.pass, advanced performance and scenography studies. In his performances he moves with radio-waves, ink-drops and the memories of his own body.

est performeur, metteur en scène basé à Bruxelles avec une pratique dans la recherche artistique, la dramaturgie et l’improvisation. Il a finalisé le programme post-master à a.pass, ‘advanced performance and scenography studies’. Dans ses performances, il bouge avec les ondes radio, les gouttes d'encre et les souvenirs de son propre corps.

is een performer, acteur en theatermaker die in Brussel woont en werkt. Zijn praktijk omvat dramaturgie, improvisatie en artistiek onderzoek. Hij rondde het post-master programma af in a.pass, advanced performance and scenography studies. In zijn voorstellingen werkt hij met radiogolven, inktdruppels en de herinneringen van zijn eigen lichaam.

Mia Melvær

is a Norwegian visual artist working at the intersection of sculpture, technology and ways of archiving. With an hands-on approach to in-between materials and with or without a variety of collaborative constellations, she is often translating forth and back between the material and digital world. As a founding member of the Brussels-based collective Just for the Record, she also investigates how gender is narrated in the way history gets written, sung and shouted.

est une artiste plasticienne norvégienne qui travaille à l’intersection de la sculpture, la technologie et les méthodes d’archivage. Avec une approche pratique des matériaux intermédiaires avec ou sans une variété de constellations collaboratives, elle traduit souvent l’aller-retour entre le monde matériel et numérique. En tant que membre fondatrice du collectif bruxellois Just for the Record, elle s’intéresse également à la façon dont le genre est raconté dans la façon dont on écrit, chante et hurle l’histoire.

is beeldend kunstenaar, voornamelijk gevestigd in Brussel en gedeeltelijk in Noorwegen. Haar praktijk houdt het midden tussen beeldhouwkunst en installaties en verkent het kruispunt tussen technologie, materialiteit en manieren van opname of archivering. Met een speciale interesse in queer- en feministische archieven en hun kruisbestuiving met cyberspace, beweegt haar werk zich tussen hands-on sculpturale productie en het assembleren van stukjes tekst om narratieve patchworks te creëren. Samen met het collectief Just For The Record brengt Mia de vertegenwoordiging van gender in nieuwe media onder de aandacht, meer bepaald in nieuwe schrijf-gemeenschappen zoals Wikipedia.

Mondotheque

a band of artists, archivists and activists that in 2013 set out to unravel the many implications of a statement that routinely compared the Mundaneum to “Google on paper”. Under the moniker Mondotheque they organised discussions, reflections and workshops in various locations. A Semantic MediaWiki functioned as a platform for writing, editing and bookdesign.

un groupe d’artistes, d’archivistes et de militants qui à partir de 2013, ont éssayé de démêler les nombreuses implications d’une déclaration qui comparait régulièrement le Mundaneum à ‘Google sur papier’. Sous le nom de Mondothèque, ils ont organisé des discussions, des moments de réflexions et des ateliers dans divers endroits. A WikiMedia Semantique a fonctionné comme une plate-forme pour l’écriture, l’édition et le graphisme.

een groep kunstenaars, archivarissen en activisten die vanaf 2013 op zoek ging naar de vele implicaties van een routinematige vergelijking tussen het Mundaneum en ‘Google op papier’. Onder de naam Mondotheque organiseerden zij discussies, reflecties en workshops op verschillende locaties. Een Semantische MediaWiki fungeerde als een platform om samen te schrijven, te redigeren en het boek vorm te geven.

Martino Morandi

researches at the intersections between technology, politics and art. His interests and projects articulate around the material conditions of technologies and their genealogies, using non-hegemonic paradigms like conviviality, semi-efficiency, dys-functioning. He collaborates with LAG in Amsterdam and Constant in Bruxelles.

fait des recherches à l’intersection de la technologie, la politique et l’art. Ses intérêts et projets s’articulent autour des conditions matérielles des technologies et de leurs généalogies, utilisant des paradigmes non hégémoniques comme la convivialité, la semi-efficacité, le dysfonctionnement. Il collabore avec LAG à Amsterdam et Constant à Bruxelles.

onderzoekt op het snijvlak van technologie, politiek en kunst. Zijn interesses en projecten zijn toegespitst op de materiële condities van technologieën en hun genealogie, waarbij hij gebruik maakt van niet-hegemonische paradigma's als convivialiteit, semi-efficiëntie, en disfunctie. Hij werkt samen met LAG in Amsterdam en Constant in Brussel.

Élodie Mugrefya

is co-responsible for artistic research & project development at Constant. She is interested in the conditions into which various forms of knowledge are being disseminated, maintained, modified or suppressed, and how these mechanisms intersect with systems and patterns of oppression.

est co-responsable de la recherche artistique et du développement de projets chez Constant. Elle s'intéresse aux conditions dans lesquelles diverses formes de savoirs sont diffusées, maintenues, modifiées ou supprimées, et à les manières dont ces mécanismes convergent avec des systèmes et logiques d'oppression.

is mede-verantwoordelijk voor artistiek onderzoek en project ontwikkeling by Constant. Zij is geïnteresseerd in de omstandigheden waarin verschillende vormen van kennis worden verspreid, onderhouden, aangepast of onderdrukt, en hoe deze mechanismen interfereren met systemen en logica's van onderdrukking.

Michael Murtaugh

is a computer programmer who researches community databases, interactive documentaries and tools for new forms of online reading and writing. He contributes to projects such as Scandanavian Institute for Computational Vandalism and Active Archives, is a member of Constant and involved in Piet Zwart Media Design where he teaches at the Experimental Publishing Masters course. http://automatist.org

est un programmeur en informatique qui recherche les bases de données communautaires, les documentaires interactifs et les outils pour de nouvelles formes de lecture et d’écriture en ligne. Il contribue à des projets tels que le Scandanavian Institute for Computational Vandalism et Active Archives, il est membre de Constant et impliqué dans Piet Zwart Media Design où il enseigne dans le cadre du cours Experimental Publishing Masters. http://automatist.org

is een computerprogrammeur die onderzoek doet naar community databases, interactieve documentaire en tools voor nieuwe vormen van online lezen en schrijven. Hij draagt bij aan projecten zoals Scandanavian Institute for Computational Vandalism en Active Archives, is lid van Constant en als docent betrokken bij het Experimental Publishing Traject van de Media Design Master aan het Piet Zwart Instituut in Rotterdam. http://automatist.org

Colm O'Neill

is a designer and researcher working in Carlow (IE), Rotterdam (NL) and Brussels. His work is concerned with mediations of digital literacy through graphical, user and programmatic interfaces. The research and practice that result follow the ideals of free and open source development models.

est un designer et chercheur travaillant à Carlow (IE) Rotterdam (NL) et Bruxelles. Son travail porte sur la médiation de la culture numérique par le biais d’interfaces graphiques, d’utilisateur et programmatiques. La recherche et la pratique qui en résultent suivent les idéaux des modèles de développement libres et open source.

is ontwerper en onderzoeker en werkt in Carlow (IE) Rotterdam (NL) en Brussel. Zijn werk houdt zich bezig met de mediatie van digitale geletterdheid via grafische, gebruikers- en programmatische interfaces. Het onderzoek en de praktijk die daaruit voortvloeien, zijn gebaseerd op de ideëen van vrije en open source ontwikkelingsmodellen.

Open Source Publishing

questions the influence and affordance of digital tools through its practice of (commissioned) graphic design, pedagogy and applied research. They prefer to use exclusively free and open source softwares (F/LOSS). Currently the group is composed of people with backgrounds in graphic design, typography and development. They find excitement in the cross-over between its members respective fields and competences. Legally OSP is structured as a bilingual Belgian non-profit organization (asbl/vzw) and aims to question and find alternatives to the standard graphic design studio model.

s'interroge sur l'influence et l'accessibilité financière des outils numériques par sa pratique de la conception graphique (sur commande), de la pédagogie et de la recherche appliquée. Ils préfèrent utiliser exclusivement des logiciels libres et open source (F/LOSS). Actuellement, le groupe est composé de personnes ayant une formation en graphisme, typographie et développement. Ils trouvent leur intérêt dans le croisement des domaines et des compétences respectives de ses membres. Légalement, OSP est structuré comme une organisation belge bilingue sans but lucratif (asbl/vzw) et vise à remettre en question et à trouver des alternatives au modèle standard de studio de conception graphique.

stelt de invloed en bruikbaarheid van digitale hulpmiddelen in vraag vanuit haar praktijk van grafisch ontwerp (in opdracht), onderwijs en toegepast onderzoek. Zij geven de voorkeur aan het gebruik van vrije en open source software (F/LOSS). Momenteel bestaat de groep uit mensen met een achtergrond in grafisch ontwerp, typografie en ontwikkeling. Zij vinden de cross-over tussen de respectievelijke vakgebieden en competenties van de leden opwindend. Wettelijk gezien is OSP gestructureerd als een tweetalige Belgische non-profit organisatie (asbl/vzw) en heeft als doel het bevragen en vinden van alternatieven voor het standaard model van de grafische ontwerpstudio.

Kris Rutten

works as a tenure track professor at the Department of Educational Studies of Ghent University where he leads the research group Culture & Education. He studied Art History and Comparative Cultural Studies and obtained a PhD in Educational Sciences with a dissertation on the rhetorical and narrative turn in education. His fields of expertise are: The rhetorical curriculum, The rhetoric of cultural literacy, The ethnographic turn in the Arts, The pedagogical role of cultural institutions.works as a tenure track professor at the Department of Educational Studies of Ghent University where he leads the research group Culture & Education. He studied Art History and Comparative Cultural Studies and obtained a PhD in Educational Sciences with a dissertation on the rhetorical and narrative turn in education. His fields of expertise are: The rhetorical curriculum, The rhetoric of cultural literacy, The ethnographic turn in the Arts, The pedagogical role of cultural institutions.blac

travaille comme professeur titulaire au département d'études pédagogiques de l'université de Gand où il dirige le groupe de recherche Culture & Education. Il a étudié l'histoire de l'art et les études culturelles comparatives et a obtenu un doctorat en sciences de l'éducation avec une thèse sur le tournant rhétorique et narratif dans l'éducation. Ses domaines d'expertise sont les suivants : Le curriculum rhétorique, La rhétorique de l'alphabétisation culturelle, Le virage ethnographique dans les arts, Le rôle pédagogique des institutions culturelles.

is als tenure track docent verbonden aan de vakgroep onderwijskunde van de Universiteit Gent en leidt de onderzoeksgroep Cultuur & Educatie. Hij studeerde kunstwetenschappen en vergelijkende cultuurwetenschap en behaalde nadien een doctoraat in de pedagogische wetenschappen met een proefschrift over de retorische en narratieve wending in educatie. Zijn onderzoek richt zich op: De plaats van retoriek in het curriculum, De retoriek van culturele geletterdheid, De pedagogische rol van culturele instituties en De etnografische wending in kunst.

Hari Prasad Adhikari Sacré

works as academic and cultural entrepreneur on educational, political and spiritual questions amidst histories of displacement, heteronormativity and imperialism. He is currently affiliated to the department of educational studies at Ghent University, where he works on a PhD thesis in the domain of cultural pedagogy. He obtained a masters in Cultural Studies at the Catholic University of Leuven.

travaille comme académicien et entrepreneur culturel sur des questions éducatives, politiques et spirituelles à travers des histoires de déplacement, d'hétéronormativité et d'impérialisme. Il est actuellement affilié au département des études éducatives de l'université de Gand, où il travaille sur une thèse de doctorat dans le domaine de la pédagogie culturelle. Il a obtenu un master en études culturelles à l'Université catholique de Louvain.

werkt als academicus en cultureel ondernemer aan educatieve, politieke en spirituele vraagstukken aan de hand van verhalen over ontheemding, heteronormativiteit en imperialisme. Hij is momenteel verbonden aan de afdeling Onderwijskunde van de Universiteit Gent, waar hij werkt aan een doctoraatsthesis op het gebied van de cultuurpedagogie. Hij behaalde een masterdiploma in culturele studies aan de Katholieke Universiteit Leuven.

Femke Snelting

develops research projects at the intersection of feminisms, design and free software. In various constellations she explores how digital tools and cultural practices might co-construct each other. She is member of Constant. http://snelting.domainepublic.net

développe des projets de recherche à la croisée des féminismes, du design et des logiciels libres. Au sein de différentes constellations, elle explore comment les outils numériques et les pratiques culturelles peuvent se co-construire mutuellement. Elle est membre de Constant. http://snelting.domainepublic.net

ontwikkelt onderzoeksprojecten op het snijvlak van feminisme, design en vrije software. In verschillende constellaties verkent ze hoe digitale tools en culturele praktijken elkaar kunnen co-construeren. Ze is lid van Constant. http://snelting.domainepublic.net

Saskia Willaert

is in charge of the collection of African instruments at the Musical Instruments Museum in Brussels.

est responsable de la collection d’instruments africains au Musée des Instruments de Musique à Bruxelles.

is verantwoordelijk voor de collectie Afrikaanse instrumenten in het Muziekinstrumenten­museum in Brussel.

Words

Archive

An archive is a collection of documents, digital or physical, that is constructed to operate across multiple contexts: academic and governmental, private and commercial, educational, non-profit and cultural etc. This multiplicity of environments causes the documents to be kept for a wide range of reasons. In many cases, the process of archiving is a rigidly codified act from the start due to the institutionalised aspect of the process. Being the product of institutionalisation, archives have been attracting much critical scrutiny because of their strong political implications. More often than not, the act of archiving creates will create an imbalanced relationship between the one who’s archiving and the one who’s being archived. Archives assembled by museums and scientific centers mirror the disproportionate power relations shaping our society such as wealthy educated professionals observing and archiving the underprivileged or the white West archiving indigenous populations. Archives have the power to maintain or even strengthen the oppression and subjugation of their archived subjects through the shaping of particular narratives by the archivist. As Achille Mbembe argued ‘the archive is primarily the product of a judgement, the result of the exercise of a specific power and authority’. But not all archives, and not all institutions are the same. They are also being used by communities as tools and practices of resistance. Caring for their own documents and histories allows these communities to thwart the authority of institutional archives as they create possibilities to shape other narrative and to fight their eradication by capitalist, patriarchal and colonial states.

Augmented Reality

Augmented Reality (AR) is applied in for example military, entertainment and healthcare. It is generally described as a technique for ‘enhancing real-world environments with computer-generated perceptual information’, emphasing a clear separation and hierarchy between what is “real” and what is “computer-generated”. In addition, AR also assumes a two-eyed user. This not only because it relies on ocular devices such as smartglasses, head-mounted devices or smartphone applications, but also because the Computer Vision algorithms that calculate the alignment between physical and computational reality, calculate their so-called “real world coordinates” from stereo cameras that mimic human eyes. AR is different from Virtual Reality (VR) and potentially more interesting, in the sense that the interactive experiences of AR explicitly mix computational materiality with physical environments. What other perspectives could AR make possible?

Cultural heritage

Cultural heritage is a term used to describe the tangible and intangible legacies that a culture is considered to be heir to. Cultural heritage often plays a role in the construction of national and regional identities; its genealogical understanding of culture presupposes a stable lineage. What counts as cultural heritage is therefore easily confused with establishment or a cultural norm and when a lively debate around the terms of inclusion or exclusion is missing, it risks to become a tool for sedimenting conventions. In Belgium, cultural heritage is also an administrative term that sets apart cultural production from work being done at museums and archives. It is exactly these borders that DiVersions would like to blur. The close look we took at physical and digital repositories of cultural heritage made us also interested in the ambitions behind the construction of such repositories in relation to the articulation of national narratives. It is common to see the formulation of such national narratives used as a marker tool for the work of inclusion or exclusion as this capitalisation on cultural heritage tends to fix elements and to leave very little room for critique, changes and examination.

Classification

Classification is the act of sorting out elements. The practice of classification relates to many different areas hence its pervasiveness in our everyday life. Classification finds its presumed scientific grounds in the period called the Enlightenment. European scientists and intellectuals were driven by the illusion of objectivity and believed rigid methodologies such as classification were the way to achieve it. That process brought the classification of flora with for instance plants vs trees; fauna with for example mammals vs cephalopods; and the humans with for example blacks vs whites or women vs men. The classification of elements is highly problematic, not only for humans, because the process generally ignores complexity, multiplicity, fluidity and complexity. Furthermore, the classification of humanity turned into a strategy for scientists to validate their strong bias towards people who did not look or act like them, namely as white European men. Nevertheless, classification remains omnipresent because it helps people make sense of what is around them. For instance, institutions working with cultural heritage are based on the construction of databases that rely on classification. The very scenography of institutions such as museums are designed following specific classifications (euro-centrist in many cases) with instances of displays of non-European populations following an European chronology as classifier. The act of classification has a history with claims of objectivity and fixity. If these claims are not questioned from the start, classifications‘ harms tend to intensify when implemented in digital systems.

Conservation

A term that defines the work done in many cultural institutions such as museums. Conservation entails taking care, labelling and ordering the various items making up a collection. As the word indicates, there is a purpose of keeping items that have entered a collection “as-is”: to protect them from alteriation due to exterior forces, or to save them from changing state. Conservation is conservative, conservare = “to keep, preserve, keep intact, guard”. In addition to precise conservation techniques such as temperature and light control, digitization is a technique which meets the interests of conservation. In that mode of thinking, creating a digital double of a statue or a building is understood as a way to protect these elements from loss, oblivion or destruction since the public can be granted access to the double, and the original of that double can be kept in a controlled environment ... or returned to the countries or regions they were taken from. Conservation already holds power by creating the means and conditions for what needs to be “saved”, how, by who and what state deserves to be fixed. In addition, the premise of conservatism in conservation techniques tends to disregard the many complexities specific to the items they are dealing with, such as the necessity or right for their disappearance, deterioration and forgetfulness. Digitization extends the intensity of the seizure by replicating, instead of displacing, the item within a foreign space; foreign in the sense of its conditions of existence and representation.

Cultural appropriation

Cultural appropriation takes place when traditions, fashions, symbols, language, and music are transferred between cultures, along the axes of historical power and oppression. Cultural appropriation follows colonial faultlines and contributes to its continuation. This (dis)placement might involve exotisation and exploitation; it’s problematics derive from the power difference between groups that block the possibility of actual cultural exchange. Sometimes cultural appropriation can be considered as a form of expropriation when the meaning of cultural elements are disrespected, distorted or even lost because they are removed from their context. Obviously there is a complex tension with critiques of originality, purity and “true” culture. Another complicating factor is the assumption that culture operates under the regime of ownership (hence the possibility to appropriate), is itself deeply rooted in European conceptions of intellectual property and the colonialist ideologies from which they formed. In that sense, copyright and patent law enforce the systems of punishment and reward which benefit those already-powerful, at the cost of others. The private and public institutions, legal frameworks, and social values which uphold these systems are inseparable from broader forms of oppression. Understandably, these same frameworks are often considered as the only option for protecting cultures against exploitation.

Database

‘Within databases, the tractability of data and relations depends in no small part on the degree of normalization of data and the structures it is entered into. Normalization means the treatment of each piece of data and each relation as a separate entity. It involves stripping away unnecessary hierarchies or other structures within data. This means that as data are updated, deleted, or inserted, they do not carry any dependencies on other data or structures (such as nesting within a set of parent–child nodes). Normalization implies a neutrality as to the relative importance of one datum as compared to another. What it thus allows is for a query to be formulated through any point in the network of relations mapped by the table. Nonnormalized data offer one kind of resistance, in that they require nested sets of dependencies. A red round thing may be a cricket ball or an apple, and neither may exactly be round, but once they are normalized and interpretable as simply exemplars of bearers of one or more of the categorizations red, round, and thing, they lose their specificity. The quality of irreducibility is transferred from the entity described to the categories into which its qualities are organized.’

Digitisation

Digitisation is the act of transforming an object from an analog into a digital format. As a result, the object becomes machine-readable. Digitisation is a major challenge for cultural heritage institutions such as museums that are forced to allocate significant parts of their budgets in the process. 2D and 3D scanning technologies are used to create a digital file that acts as a digital double, a sort of extension of the “original” object which is now easily transportable, shareable, quantifiable and transformable in comparison with the infrastructural cares most museum objects are said to require. The possibilities brought by digitisation interestingly became an argument in favour of restitution and against it. Indeed, on one side, digitisation extends access (geographically and temporally) to an item which means it does not need to stay in an institution thousands of kilometres away from its place of creation. From the other side, since digital doubles can travel more easily (in terms of costs, legal issues, insurance, ...) than the “originals”, there is no reason to make an effort to remove it from the place it is considered to already been safely taken care of.

Decolonial

A decolonial practice rejects everything taught by the system of racial oppression we were all born into. Decoloniality calls for an active, intellectually strong and unapologetic disobedience in the pursuit of dismantling this century-old system. The difficulty in practicing decoloniality comes from the omnipresence of colonial heritage in every part of our lives from education programs, languages (the dominance of English being a very good example), science, gender and sexuality, religion, fashion, food, travel and so many others. As Seloua Luste Boulbina insists, it is more useful to associate decolonization to ‘a kind of labor’ than a process. Decolonial thinking attempts to propose generative gestures of thinking/doing from other point of entries than the ones of the ongoing historical and neo-colonial regimes. In Belgium, the ongoing celebratory presence of Leopold II’s regime in public space and the general lack of critique on the Belgian colonial rule, demonstrates that the decolonial process has not reached the collective conscience yet.

Diversity

Diversity literally defines ‘a condition of having or being composed by multiple elements’ and can be considered as a synonym for “variety”. More recently, it became the default term to define groups composed by individuals considered as belonging to diverse categories of what we make up as human identities. Diverse refers in general to race, religion, ability or gender. The increased use of this word has moved it into the realm of corporate vocabulary, institutional management and marketing. In that transformation, the condition of diversity became deeply entangled with instances of “diversity training” and “diversity officers”. In this context, diversity is framed in terms of aesthetics, hence focuses on visible traits such as race or ability, instead of fundamentally changing the way oppression and power work in relation to them. Diversity acts as an agent of recognition for everything that fits within the norm. The general narrative surrounding “diversity”, managed to create a feel-good politics by obscuring topics that are generally not-feel-good at all, such as racism and queerphobia by placing, once again, the focus on the not-white, not-straight, not-male so to prevent the uncomfortable formation of white, heterosexual and other types of guilt. ‘Diversity is a white word’, as Tania Canas argues, ‘It seeks to make sense, through the white lens, of difference by creating, curating and demanding palatable definitions of “diversity” but only in relation to what this means in terms of whiteness.’ In September 2020, a large poster appeared which covered an important part of a building in Brussels city center. The poster reads: ‘Embrace Diversity’ and depicts several indiscernible rainbow-colored bodies holding each other, as the artist states: ‘the bodies “embrace” each others’ diversity’. The poster signalled the launch of an action plan by the city of Brussels for the “inclusion of LGBTQI + people”. The banner exemplifies the feel-good politics of diversity mentioned earlier, with bodies being abstractly and aesthetically depicted in close-up and with inhuman colors; not showing anyone and therefore avoiding to engage with anything. The campaign stays within a discursive realm made of pleasant articulations instead of relating to unpleasant matters such as oppression and violence.

e-collection

e-collection or electronic-collection can mean many things (from debt collection to on-line gallery). In DiVersions, it refers to digital or digitised collections brought together by cultural institutions.

Face recognition

Face recognition systems are technologies aimed at recognizing human faces. The systems have various implementations, from “simply” detecting that there is a face to identifying specific individuals passing by searching and comparing it to massive databases of pictures. Unsurprisingly, these systems’ functioning is embedded of various biases, especially gendered and based on racist patterns. It becomes increasingly clear that face recognition systems would maintain biases already present in society if there is no application of protocols for checking them. However, while activists demand fairer technology, as is the case for face recognition systems, one could wonder whether the existence of these technologies isn’t already a threat to any fantasy of fairness. Instead of framing the response as working with or fixing face-recognition, is there room to refuse it altogether?

Institutions

The word institution can refer both to social mechanisms and formal organisations. In sociology, institutions are seen as ‘systems of established and prevalent social rules that structure social interactions. Language, money, law, systems of weights and measures, table manners, and firms (and other organizations) are thus all institutions.’ We can consider that traditions and governments are both institutions as they are inhabited by commands for the pursuit of certain goals. Certain institutions tend to work through the formulation and enforcement of explicit rules, procedures and organisation whereas others tend to be mostly formed through implicit rules and norms. However, most institutions fluctuate between the explicit and the implicit hence the multiplicity and multiformity of their social configurations and interactions. In that sense, cultural institutions such as museums work both through clear sets of commands stemming notably from the normative curatorial processes and their clear pursuit of preservation but operate also under less-clear mechanisms of social and cultural constructions. What mechanisms need to be undone, invented and practiced for a decolonial and intersectional institution to exist?

Intersectionality

Intersectionality is a framework developed by Afro-American feminists to analyse how interlocking systems of power impact each other. It considers oppressions not as forces which exist separately from each other but understands that the entanglement of for example class, race, sexual orientation, age, disability and gender produce complexer forms of marginalisation. Kimberlé Crenshaw explains: ‘Originally articulated on behalf of black women, the term brought to light the invisibility of many constituents within groups that claim them as members but often fail to represent them’. To say that DiVersions is a site for “decolonial” and “intersectional” practice means that we try to pay attention to different interfering patterns of inclusion and exclusion that are acting on the digital archive so that the violence of these archives effectively emerges from the obscurity preserved by cultural institutions’ operations.

Machine-readable

Machine-readable data are texts, images or sounds that are prepared to be processed more efficiently by machines. Machine-readable materials are differently ordered or encoded than human-readable ones, sometimes at the price of legibility by non-machine ones. In an attempt to do away with the kind of ambiguities that interpreters other-than-machines can handle (“Time flies like an arrow”), human-readable data is generally broken up into smaller units before organizing it in simplified structures. Humans can aid this process by using specific markup in their documents such as micro-formats, Markdown, RDF or even HTML. Of course, formats specifically developed for machinic eyes and ears can be parsed by humans and vice versa. Reading the source file of a web page out loud, treating a poem like a bag of words, interpreting an image by machine vision, singing a comma separated file, or treating a poem or literary text as a data storage can lead to interesting mis-readings, interpretations and floatations between machinic and other systems of knowledge.

Open Access

Open access (OA) is a specific set of principles and a range of practices through which outputs from knowledge production are distributed free of cost or other access barriers. The movement aims to make a difference from pay-walled, commercialised circulation of academic research and tries to convince universities, labs and funding bodies that research outcomes should be accessible for all. According to the 2001 definition, copying or reuse should also be possible and in this way Open Access enters the orbit of the Free Culture. The main focus of the open access movement is peer reviewed research literature such as academic journals, academic journal articles, conference papers, theses, book chapters and monographs. On the one hand, this focus grounds its universalist claim for openess in a specific area of knowledge production but on the other it risks to assume that research circulates in these formats only and thereby further formats what counts as knowledge and who can contribute to its production. Furthermore, with its commitment to ‘openness’, Open Access might turn a blind eye to the need for opacity when accessing and transmitting knowledge, especially when it comes to marginalized communities. Re-use and access are often favourable, but sometimes not desired.

Permission

Free Culture licenses make sure that we do not need to ask for permission if we want to consider, interrogate and discuss the technical details of software or hardware, or when we want to engage for example with the concepts, politics and histories of cultural representation and cultural appropriation. For DiVersions, Free Culture offers a framework to put pressure on the often proprietary behaviour around cultural heritage, and to demand it to be open to change. If digital imagery and infrastructures would be available under conditions that allowed re-appropriation and re-use, we might have a better chance of developing proposals with institutions rather than against them. At the same time, the problematics surrounding cultural appropriation make clear that it might be necessary to differentiate between who appropriates what and how in what context. Such questions are difficult to address in the current framework of copyright AND of copyleft. In addition, the problematic emerges as even more multi-layered when we accept that there are situations where appropriation is not an option. We need to rethink default assumptions about authorship, ownership and access. As the selection of stills included in the contribution Palimpsest of the Africa Museum shows, there are many questions to ask about the connection between Free Culture and white privilege, and how asking for permission might be a way to come to terms with interrelated geneologies of authorship, authority and responsibility.

Prosm

A term that emerged in a first conversation on Free, Libre and Intersectional Technologies at Constant. It might be a prosm itself; it diffracts words like other, projection and open through prism. It also resonates with El Lissitsky’s Proun.

Queering technologies

For DiVersions, the inevitable definitional elasticity of “queering” has been and still is an important set of tools to engage with the entangled troubles of digital technologies and classificiation. Binary logic is deeply embedded in computation and radiates out to its architectures, interface designs, and imagined functionalites. Queering actively resists the fixity of such binary oppositions, whether they relate to heteronormativity or to the neo-liberal pressure to compute. As an anti-essentialist, counter-disciplinary attitude, queering insists on de-stabilising fixed identity categorisations and taxonomic distinctions. ‘This software is not necessarily designed to reproduce but produce. The development kit aims for the production of new queer ontologies, epistomologies, and political ecologies. Replication is not a constituent, but a possibility. This software may be used to produce new theoretical concepts and systems of knowledge, power, and logic.’

Restitution

In the context of cultural heritage, the term “restitution” refers to the process during which objects kept inside museums find their way back to the countries or regions they were taken from before entering the space of a museum. According to Achille Mbembe, restitution shows itself in two moves. One that breaks what’s damaging and one that care for what/who’s has been damaged. The demands for restitution have grew louder in the past years which consequently made it difficult for museum authorities to avoid the topic any longer. Two years ago, the director of the Museum of Central Africa in Tervuren, Belgium was mentioning loans, itinerant exhibitions and digital archives when asked about restitution. Today, the same museum slightly changes its communication around restitution. While reminding that the legal status of the collections makes them an inalienable property of the federal State, the museum says it is open to discuss the matter and advise the federal government in cases of ‘relevant and formal demands by a recognized authority and after a deep investigation into the ways the objects concerned by the demand were acquired’. However, it is important to keep in mind that this legal frame was put in place by the states illegally plundering other countries. Legal matters aside, as Bambi Ceuppens declared, ‘When you’re confronted with the fact that 80 to 90% of African cultural heritage is kept outside of the continent, how can you not be in favour of restitution? It just doesn’t make any sense.’

Scraping

Scraping is short for Web scraping, web harvesting, or web data extraction. Scraping can be done manually by a software user in a browser, but usually involves a web crawler or other specific tools. It is a form of automated copying, in which selected data or complete websites are downloaded for later processing. In DiVersions, scraping techniques were used to be able to recuperate and rebuild the Carmentis database without having access to it’s actual database. A partial export of the data was provided by the Museum for Art & History in 2016, but due to concerns about security and permissions, and also because the file was complex and hard to work with, we preferred this tangential technique. Scraping only fetches materials that are already publicly available, but because of it’s automated approach it is a good tactic for testing out versions of on-line reality without actually interfering in the order of things.

Versioning

Versioning is a habitual operation in digital, often collaborative environments. It consists of identifying subsequent versions of digital files and comparing them to point out their differences. The term may refer to version control, sometimes revision control, which is the management of changes to documents, computer programs, large web sites, and other collections of information. This type of versioning operates internally in most software applications (think about the “undo” or “⌘command + Z” option available in many software tools), or on-line on collaboration platforms (like the “View history” tab in MediaWiki and on Wikipedia pages). The term can refer to specific on-line environments that are developed to manage collaboration on software development, such as gitlab and Subversion. “Versioning” is also used to describe the versioning of a file system, a method to allow computer files to exist in several versions at the same time. And finally, there is the practice of software versioning, which means assigning unique version names to unique states of computer software. For DiVersions, these many versions of “versioning” are inspiring because by meticulously logging workflows, any action can be reversed or repeated at any time; errors or unwanted inputs can be later corrected but they remain legible as part of the process. This potentially changes linear relations between original and copy, redefining questions of authorship and the archive. Versioning invites us to consider digital documents as living objects that over time evolve into archives of hesitations and mistakes.

Colophon / Colofon / Colophon

https://diversions.constantvzw.org

Edited by / Éditée par / Redactie

Constant (Elodie Mugrefya, Femke Snelting)

Translations / Traductions / Vertalingen

An Mertens, Elodie Mugrefya, Donatella Portoghese, Femke Snelting. Mise en Valeur et Omission: Eva Van Walle, Immaterieel erfgoed, soms schuurt het ook digitaal: Judith Hoorens. Close readings: Nil Ramos, Steven Talon.

Transcription

Mara Ittel

Proofreading / Rélecture / Proeflezing

Emma Kraak, Donatella Portoghese

Design + web development / Graphisme + dévelopment web / Grafisch ontwerp + webontwikkeling

OSP (Sarah Magnan & Gijs de Heij)

Fonts / Polices / Lettertypes

Avara, Spectral, Poppins, ocr-pbi

Tools / Outils / Gereedschappen

MediaWiki, HTML, CSS, paged.js, Firefox, Gimp, Ghostscript, MuPDF, PDFtk

Printing / Imprimée par / Druk

Graphius, Harry Studio (dust jacket / jaquette / stofomslag), AJM Print-Shop (color pictures / images couleur / kleurenfoto’s)

Copyleft with a difference, 2020

Artists, authors and Constant, Association for Art and Media, Brussels / Artistes, auteurs et Constant, Association pour les arts et les médias, Bruxelles / Kunstenaars, auteurs en Constant, Vereniging voor Kunst en Media

License / License / Licentie

Texts and images developed by DiVersions are available under the Collective Conditions for Re-Use (cc4r) 1.0. You may copy, distribute and modify them according to the terms of the cc4r. Other materials copyright by the authors / Les textes et images développées par DiVersions sont disponibles sous les Collective Conditions for Re-Use (cc4r) 1.0. Vous pouvez les copier, distribuer et modifier selon les termes de la cc4r. Les autres matériaux sont assujettis aux droits d'auteur choisis par les auteurs. Teksten en afbeeldingen ontwikkeld door DiVersions zijn beschikbaar onder de Collective Conditions for Re-Use (cc4r) 1.0. U kunt ze dus kopiëren, verspreiden en wijzigen volgens de voorwaarden van de cc4r. Andere materialen: auteursrecht bij de auteurs. https://gitlab.constantvzw.org/unbound/cc4r

Thank you / Merci / Bedankt

De auteurs, Ariella Aïsha Azoulay, Jeroen Bourgonjon, Matthias De Groof, Louis Rodil-Fernández, Emiel Van Binnebeke, Nacha Van Steen, Els Van Rompuy, Chris Vastenhoudt, Saskia Willaert and the collections / et les collections / en de collecties: Musées royaux d’Art et d’Histoire (Carmentis), Musical Instruments Museum (MIM), immaterieelerfgoed.be, Wikidata + Wikipedia.

Developed in collaboration with / Développée en collaboration avec / Ontwikkeld in samenwerking met

UGent (Department of Educational Studies), Werkplaats immaterieel erfgoed, meemoo (Vlaams Instituut voor het Archief), RoSa (Kenniscentrum voor gender en feminisme).

With the support of / Avec le soutien de / Met de steun van

Vlaamse Overheid, Fédération Wallonie-Bruxelles Arts Numériques.

ISBN

9789081145992