Worm shop Rotterdam: the first physical distributor of Libre Graphics magazine

It is with pride that we announce our first bricks-and-mortar distributor for the magazine.
Since last December, the Libre Graphics magazine is available for sale at Worm’s shop in Rotterdam. Get yours!

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DIY and criticality (CulturaDigital.Br day 3)

Today marks the final day of the third CulturaDigital.Br festival. In attending talks and Experience Sharing sessions, two things struck me: hackerspaces are wildly popular and people are still surprised that RFID technology has drawbacks. There’s something linking the two together. That something is the degree of techno-optimism still present in the DIY, hacker, maker and digital culture communities.

We see brilliant technologies being used by large organizations, often against us or simply to make a profit, and we want a piece of the technology for ourselves. So we get hold of it, we hack with it, we build our own interventions. And this feels significant. It is significant. It matters deeply that people are able to feel ownership over technologies that will only become more enmeshed in their daily lives. It’s brilliant to see such enthusiasm and so much effort being put into social change through technological intervention.

The problem, as briefly highlighted by Mimi Hui of NYC Resistor, who presented on the security risks of RFID (Radio-frequency Identification), is that we don’t often enough turn our interest in technology back on itself. We spend so much of our time doing interesting things with technology that we often fail to direct an intelligent, critical eye towards the tools of our production. This has been said before. It has been said by many people. But it continually fails to sink in.

Instead, we leave the job to the popular media, eager to jump on every new development and criticize it with little depth. For our intelligent criticism, we look, most often, to security researchers and academics, if we look anywhere at all. But those researchers are, more often than not, not us. They are not the ones attempting to own technologies, to make change with those technologies, to use them for purposes at turns casual and grand.

We leave the critique of our technologies to outsiders, instead of doing it ourselves. Things like the Maker’s Bill of Rights approach the problem. Yet we continue with our techno-utopianism. We build for fun, or we build for change. Both are wonderful. But perhaps, though it’s been said before, we need to spend a moment, every time we sit down at the bench to produce something, thinking about the ramifications of our actions. In spending a moment to take a holistic view, we might give ourselves some perspective, and some power. We might take the power to criticize out of the hands of those who do not use our tools. We might put that power into our own hands.

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CulturaDigital.Br day 3: Hugues Sweeney

Hugues Sweeney, a producer in the Interactive program at the National Film Board of Canada, is good at making slides. No, really. I don’t know what software he used for the job (although it probably wasn’t libre), but he does a nice-looking presentation. Of course, it helps that the work he shows off is frankly beautiful. The work produced by the Interactive section of the NFB in the last two years sets a high standard for both content and production.

Sweeney opened with a short film, produced for the the 70th anniversary of the NFB. While not under Sweeney’s mandate, the film served as an introduction to the work of the organization. With clips from Rip! A Remix Manifesto, Walking and Carts of Darkness, among others, it was an evocative opening, showcasing the sort of work that has made the NFB famous. With a mandate devoted to documentary and animation, the NFB has served Canada since the 1930s, advancing a multiplicity of Canadian perpectives. That was the look back. The remainder of Sweeney’s talk focused on the future.

Sweeney has a unique view of what may, increasingly, become the mandate of his organization. The projects he showed gave a glimpse of that future. A clear evolution is taking place in the output of the NFB’s interactive section. From Waterlife, the admittedly beautiful first effort of the section, the form and depth of projects has shifted. Waterlife, a project aimed at building awareness of issues surrounding the Great Lakes, was, according to Sweeney, produced from the progress documents and footage of a film of the same title. The web project, which has surpassed its film counterpart in reach, was not the first version of the story. Since then, however, projects in the interactive section have come into their own. Projects such as Barcode, which break out of the browser and into the physical world of the viewer, are a beautiful use of available technologies, with the camera phones of viewers serving as barcode readers. Upon reading the barcodes of objects in their environment, viewers are shown short videos which provide an alternate view on the everyday object. This sort of interaction point, according to Sweeney, is one we’ll see more of in the future.

The National Film Board, in its existence, has been a pioneer, originating styles, methods of production and technologies. According to Sweeney, it has made its name by being two steps ahead of everyone else. Except in the realm of interactive media. This is why, Sweeney says, the time is now to focus on the production of interactive projects. In this, the NFB is speeding its pace, running just a little to regain its place ahead of the pack.

[Disclosure: I have, in past, worked with the NFB to produce interactive projects.]

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We interrupt our scheduled coverage…

Because my phone has just broken. Specifically, the port that handles both charging and data transfer has come loose. Because this is the device I use for both taking photos and recording interviews (and because doing both of those things all day really eats the battery), you’ll see a drop in coverage of the CulturaDigital.Br festival. So, for coverage of tomorrow’s events, expect text, but no images.

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An excellent use of foam

Take a look at this giant, excellent sign on the ground at CulturaDigital.Br.

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Setting the stage at CulturaDigital.Br

As with any event, part of the time at the CulturaDigital.Br festival is spent waiting for things to start. Those moments of sound checks, of presentations getting loaded onto computers, of microphones getting handed to the right people, aren’t normally the focus. Let’s take a look at them for a moment. Above, the stage in the Odeon, just before the beginning of the opening ceremonies of the festival. Below, the Experience Exchange stage, just before a talk about the Free Culture Forum.

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Sounds of the festival

Most of the time, the prevailing noise at F/LOSS conferences is the sound of people talking and keyboards clicking. Not so much at the CulturaDigital.Br festival. Here, it’s birds, voices, and the occasional plane flying overhead. Have a listen.

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A first look at CulturaDigital.Br

It’s the opening night of the CulturaDigital.Br festival. In about an hour, a talk by Yochai Benkler is going to kick things off. For now, though, here’s the lay of the land.

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Libre Graphics magazine at CulturaDigital.Br

This week, on behalf of Libre Graphics magazine, I’ve trekked down to Rio de Janeiro for CulturaDigital.Br festival. In addition to doing what we normally do – interviewing people, taking photos and looking out for promising projects to be featured in future issues of the magazine – I’ll be attempting something new. Over the next two days, I’ll be doing my best to actually show off what’s happening at the event, as it happens. We’ll see how that goes.

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Issue 1.3 shipping status

If you’re a subscriber or have ordered a copy of issue 1.3, we’ve got some good news:

If you’re in Europe, chances are good that your magazine is either already in your hands or is about to be.

If you’re in Canada, you can expect it this week.

In the United States, your copy of 1.3 should be with you next week.

Elsewhere in the world, don’t worry! It may take a little longer, but your magazine has been shipped and is on the way.

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