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Wed Dec 14 14:22:51 EST 2011


according to which multiple layers of information can be stratified onto
the world by multiple agents, and remixed, mashed-up, creating entirely new
spaces for action, relation, information, interaction, value.

FakePress Publishing, for example, is a publishing house which does not
produce any books, be them on paper or electronic.

FakePress produces ubiquitous publications: layers onto the world in which
multiple agents can create emergent, non-linear, open-ended, narratives,
essentially being able to freely reinterpret the world.

FakePress' "books" are fundamentally platforms and are radically "open"
(both in the process and access, and in the fact that when we release each
"book" we also release the technological/methodological platforms that was
used/created to make it).

The publication (and the possibility to publish) is at the center of a wide
process, involving the invention of novel forms of relations, of learning,
of disseminating and accessing knowledge, of inventing new forms for
sustainability, for action, for protest, for business.

The publication includes content, technology, methodology and the active
sharing and dissemination of all of the above.

All our concepts are built to systematically liberate spaces, creating new
ones "on top of them", squatting reality. "Publishing" new reality on top
of the "classical" one.

This "squatted" reality is designed as an infrastructure onto which
multiple people can publish their re-interpretation, their
recontextualization, their re-programming of reality.

For example, through projects such as "Squatting Supermarkets", launched in
2009 we allowed people to create publications which squatted the corporate
logos found on the products at supermarkets: you scan the logo using your
mobile phone, the logo gets recognized and it becomes an augmented reality
marker onto which you can publish information.
We used it to publish realtime maps of the ways in which your favorite
shampoo pollutes your favorite beach and entire logo-based open social
networks onto which people could actually write things on logos which
everyone else could access. Other people used it to publish on products
anything from recipes, to disseminated novels, to information tools for
activists.

Or, always in 2009, when we published "Ubiquitous Anthropology", a novel
form of ethnographic report built with the contribution of Bororo
individuals from Mato Grosso who could use a location based application to
describe their perception of the world, producing an ethnographic report in
which all points of view were represented, not only the ones of the
anthropologist.

Or when we created probably our most peculiar "publication": REFF,
RomaEuropa FakeFactory. The publication consisted in a fake institution
making real cultural policies. The object of publication was a whole
institution, built to enable the publication of the
expressions/narratives/visions of people: the institution was created as a
false (but real) copy of an existing one and worked as a meta-brand,
meaning that anyone sharing ethical approaches could use the brand for
their own purposes. The whole operation aimed at the "systematic
reinvention of reality". And it actually worked: the fake institution was
recognized by the cultural commission of the italian senate and by the
european union (it hosted one of EU's official events of the year of
creativity in 2009), and has partners among universities and other
institutions. It even managed to create an official youth program,
performing workshops in schools internationally, with its program for
radical innovation on the themes of the "systematic reinvention of
reality", teaching students everywhere how to use an Augmented Reality
Drug, a free software product allowing you to transform a blog into an
ubiquitous publishing system.

Or all the projects such as Bluetooth Wars, ConnectiCity, Consciousness of
Streams, Leaf++ and other through which publications can be created
engaging thousands of people to participate in augmenting spaces with their
points of view, ideas, narratives, emotions, redefining things such as
urban planning, decision-making, self-organization along p2p methodologies
and processes.

This last point is a crucial one, as it essentially goes beyond approaches
based on ideology and focuses on the themes of access to knowledge and of
ethics.

Here. This is our (possibly too long :) ) approach to the themes presented
in the discussion, suggesting:

* our vision for "publishing" (novel forms of writing onto the world as
possibility to liberate spaces and enact emergent, multiple-author,
non-linear, open ended narratives),

* openness and collaboration (the possibility to create multiple autonomous
layers of reality, and to remix, mash-up, recontextualize, reinvent and,
basically, operate in a continuous state of reinvention of reality, along
p2p methodologies),

* organization (the possibility of enabling practices by creating
ubiquitous, yet temporary, liberated spaces and by disseminating and
actively sharing the technologies and methodologies to do it),

* the scenario of sustainability (from multiple points of views, from
ecology to economy, from politics to business, using the tools of
awareness, autonomy, nomadism and methodological squatting)

* and access (through a continuous state of workshop, and the complete
disclosure of technologies and methodologies).

sorry for the length!
all the best,
salvatore
http://www.artisopensource.net
http://www.fakepress.it

--20cf3074d99c435add04b6ae325d
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Content-Transfer-Encoding: quoted-printable

<div>hello Penny, Adam and everyone,</div><div><br></div><div>and thank you=
, Penny, for the introduction which brings me directly onto several issues =
which we, as FakePress Publishing and as Art is Open Source, have been focu=
sing on in the last few years.</div>
<div>I will say &quot;we&quot; multiple times, as FP and AOS are composed b=
y multiple people coming from different backgrounds, such as communication =
sciences, anthropology, design, arts, engineering, hacking and marketing. I=
n all this variety it is really difficult to define when to say &quot;I&quo=
t; and when to say &quot;we&quot;, as all our efforts are focused precisely=
 on this: creating environments for emergent, multi-actor, behaviors.</div>
<div><br></div><div>All our approaches are really different, yet they point=
 in similar directions.</div><div><br></div><div>For example, i come from s=
kateboarding and italy&#39;s rave party movement.</div><div><br></div><div>
When you skateboard, you are in a constant state of architectural reinventi=
on.=A0</div><div><br></div><div>You are constantly re-programming your city=
.</div><div><br></div><div>You can take an ugly broken bench in the saddest=
 neighbourhood of your city and =A0you transform it into a magical place fo=
r acrobatics.</div>
<div><br></div><div>This kind of scenario happens with rave parties, as wel=
l: you go to some of the ugliest places that constitute your city&#39;s fab=
ric and you transform them into liberated spaces.</div><div><br></div><div>
Or with squatting. Or graffiti writing.</div><div><br></div><div>What you a=
re doing is re-interpreting.</div><div><br></div><div>You are creating some=
thing new from re-interpretation of a space of your city. You are layering =
new meaning onto a place.</div>
<div><br></div><div>Before your action, that place had a series of meanings=
: administrative, economic, bureaucratic, social...</div><div><br></div><di=
v>But through a series of practices you are able to &quot;publish&quot; new=
 layers of meaning onto those building, spaces, walls, houses, benches, han=
drails, whatever.</div>
<div><br></div><div>All these practices (which are all &quot;squatting&quot=
; practices, in one way or the other) are &quot;publishing&quot; practices,=
 and correspond to &quot;forms of writing&quot;.</div><div><br></div><div>
You are not writing on a piece of paper or on a wiki page, you are writing =
on the world.</div><div><br></div><div>When Gilles Cl=E9ment speaks about t=
he &quot;Third Landscape&quot; one of the issues which i really find intere=
sting is the focus on the ways in which classically the natural environment=
 in cities is defined institutionally, by bureaucracy and administration: a=
 flower bed in a roundabout; a park; flowers along the sidewalk. Classical =
preservation or environmental conservation tools such as surveillance, prot=
ection and the creation of limits and borders cannot apply to the Third Lan=
dscape without destroying its characteristics: as Cl=E9ment writes &quot;no=
t property, but space for the future&quot;.</div>
<div><br></div><div>John Barrell wrote a book titled &quot;The dark side of=
 the landscape: the rural poor in English painting, 1730-1840&quot; in whic=
h he pointed out the imposition of the point of view of a single social cla=
ss by defining the &quot;shape&quot; of the environment, by describing its =
usage, its meaning. With Cl=E9ment, for example, we could talk about a &quo=
t;light-side&quot; of the landscape, for the Third Landscape is not an excl=
usive model but an inclusive one: &quot;a shared fragment of a collective c=
onsciousness&quot;. It is based on a planetary remix (brassage) and it is a=
t the origin of the current richness of ecosystems.</div>
<div><br></div><div>One peculiar thing about the Third Landscape in Cl=E9me=
nt&#39;s definition, is the fact that, in a way, it exists &quot;only if we=
 look at it&quot;, only if we learn how to look at the world differently an=
d if we learn how to recognize it and attribute value to it.=A0</div>
<div><br></div><div>The Third Landscape relies on us learning how to reinte=
rpret the world recognizing new schemes and stratifying our interpretation =
onto the world, with our new definition of value, opportunity and possibili=
ty.</div>
<div><br></div><div>Multiple authors have investigated in this direction, s=
uch as Almo Farina in his definition of &quot;Cognitive Landscape&quot;, ac=
cording to which we can define a territory by taking into account all the w=
ays in which living beings perceive it: a multiple, constantly mutating def=
inition of the landscape; emergent, multi-author, open-ended.</div>
<div><br></div><div>All these concepts point to an issue which found wide i=
nterest in anthropology and ethnography. In 2010 the book &quot;Beyond Ethn=
ographic Writing&quot; came out, edited by Luca Simeone (a FakePresser, by =
the way) and Ana Maria Forero Angel with contributions by George E. Marcus =
and Massimo Canevacci Ribeiro. In harmony with the title, the book is focus=
ed on the possibilities to reinvent ethnographic writing, by including in t=
he scenarios the opportunities which are available to us to go beyond the s=
cenario according to which the ethnographer performs his/her research, take=
s notes, pictures, observations and then essentially writes a &quot;novel&q=
uot;, representing, in the end, only one point of view: his/her own.</div>
<div><br></div><div>This is a &quot;problem&quot; faced by multiple discipl=
ines, such as architecture and design: from a certain point of view archite=
cture, for example, can be thought as a very &quot;violent&quot; series of =
processes, forcing onto people the sight and experience of those buildings,=
 roads and bridges which essentially come out of a single point of view.</d=
iv>
<div><br></div><div>All these scenarios (skateboarding, raves, squatting, t=
he landscape, architecture, design) are only some of the ones which are cur=
rently at the center of a radical set of processes, which involve multiple =
disciplines, actors and perspectives.</div>
<div><br></div><div>Our idea of &quot;publishing&quot; starts here.</div><d=
iv><br></div><div>It has been a few years since when we started perceiving =
the concept of &quot;publishing&quot; to be at the center of a possible nov=
el form of radical innovation.</div>
<div><br></div><div>From what we can see, it is now possible to imagine and=
 enact scenarios according to which multiple layers of information can be s=
tratified onto the world by multiple agents, and remixed, mashed-up, creati=
ng entirely new spaces for action, relation, information, interaction, valu=
e.</div>
<div><br></div><div>FakePress Publishing, for example, is a publishing hous=
e which does not produce any books, be them on paper or electronic.</div><d=
iv><br></div><div>FakePress produces ubiquitous publications: layers onto t=
he world in which multiple agents can create emergent, non-linear, open-end=
ed, narratives, essentially being able to freely reinterpret the world.</di=
v>
<div><br></div><div>FakePress&#39; &quot;books&quot; are fundamentally plat=
forms and are radically &quot;open&quot; (both in the process and access, a=
nd in the fact that when we release each &quot;book&quot; we also release t=
he technological/methodological platforms that was used/created to make it)=
.</div>
<div><br></div><div>The publication (and the possibility to publish) is at =
the center of a wide process, involving the invention of novel forms of rel=
ations, of learning, of disseminating and accessing knowledge, of inventing=
 new forms for sustainability, for action, for protest, for business.</div>
<div><br></div><div>The publication includes content, technology, methodolo=
gy and the active sharing and dissemination of all of the above.</div><div>=
<br></div><div>All our concepts are built to systematically liberate spaces=
, creating new ones &quot;on top of them&quot;, squatting reality. &quot;Pu=
blishing&quot; new reality on top of the &quot;classical&quot; one.=A0</div=
>
<div><br></div><div>This &quot;squatted&quot; reality is designed as an inf=
rastructure onto which multiple people can publish their re-interpretation,=
 their recontextualization, their re-programming of reality.</div><div>
<br></div><div>For example, through projects such as &quot;Squatting Superm=
arkets&quot;, launched in 2009 we allowed people to create publications whi=
ch squatted the corporate logos found on the products at supermarkets: you =
scan the logo using your mobile phone, the logo gets recognized and it beco=
mes an augmented reality marker onto which you can publish information.</di=
v>
<div>We used it to publish realtime maps of the ways in which your favorite=
 shampoo pollutes your favorite beach and entire logo-based open social net=
works onto which people could actually write things on logos which everyone=
 else could access. Other people used it to publish on products anything fr=
om recipes, to disseminated novels, to information tools for activists.</di=
v>
<div><br></div><div>Or, always in 2009, when we published &quot;Ubiquitous =
Anthropology&quot;, a novel form of ethnographic report built with the cont=
ribution of Bororo individuals from Mato Grosso who could use a location ba=
sed application to describe their perception of the world, producing an eth=
nographic report in which all points of view were represented, not only the=
 ones of the anthropologist.</div>
<div><br></div><div>Or when we created probably our most peculiar &quot;pub=
lication&quot;: REFF, RomaEuropa FakeFactory. The publication consisted in =
a fake institution making real cultural policies. The object of publication=
 was a whole institution, built to enable the publication of the expression=
s/narratives/visions of people: the institution was created as a false (but=
 real) copy of an existing one and worked as a meta-brand, meaning that any=
one sharing ethical approaches could use the brand for their own purposes. =
The whole operation aimed at the &quot;systematic reinvention of reality&qu=
ot;. And it actually worked: the fake institution was recognized by the cul=
tural commission of the italian senate and by the european union (it hosted=
 one of EU&#39;s official events of the year of creativity in 2009), and ha=
s partners among universities and other institutions. It even managed to cr=
eate an official youth program, performing workshops in schools internation=
ally, with its program for radical innovation on the themes of the &quot;sy=
stematic reinvention of reality&quot;, teaching students everywhere how to =
use an Augmented Reality Drug, a free software product allowing you to tran=
sform a blog into an ubiquitous publishing system.</div>
<div><br></div><div>Or all the projects such as Bluetooth Wars, ConnectiCit=
y, Consciousness of Streams, Leaf++ and other through which publications ca=
n be created engaging thousands of people to participate in augmenting spac=
es with their points of view, ideas, narratives, emotions, redefining thing=
s such as urban planning, decision-making, self-organization along p2p meth=
odologies and processes.</div>
<div><br></div><div>This last point is a crucial one, as it essentially goe=
s beyond approaches based on ideology and focuses on the themes of access t=
o knowledge and of ethics.</div><div><br></div><div>Here. This is our (poss=
ibly too long :) ) approach to the themes presented in the discussion, sugg=
esting:=A0</div>
<div><br></div><div>* our vision for &quot;publishing&quot; (novel forms of=
 writing onto the world as possibility to liberate spaces and enact emergen=
t, multiple-author, non-linear, open ended narratives),=A0</div><div><br>
</div><div>* openness and collaboration (the possibility to create multiple=
 autonomous layers of reality, and to remix, mash-up, recontextualize, rein=
vent and, basically, operate in a continuous state of reinvention of realit=
y, along p2p methodologies),=A0</div>
<div><br></div><div>* organization (the possibility of enabling practices b=
y creating ubiquitous, yet temporary, liberated spaces and by disseminating=
 and actively sharing the technologies and methodologies to do it),=A0</div=
>
<div><br></div><div>* the scenario of sustainability (from multiple points =
of views, from ecology to economy, from politics to business, using the too=
ls of awareness, autonomy, nomadism and methodological squatting)=A0</div>
<div><br></div><div>* and access (through a continuous state of workshop, a=
nd the complete disclosure of technologies and methodologies).</div><div><b=
r></div><div>sorry for the length!</div><div>all the best,</div><div>salvat=
ore</div>
<div><a href=3D"http://www.artisopensource.net">http://www.artisopensource.=
net</a></div><div><a href=3D"http://www.fakepress.it">http://www.fakepress.=
it</a></div>

--20cf3074d99c435add04b6ae325d--


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