🎵 In this second part we are having three presentations in the game, but we are very lucky because Potato Publishing arrived. And then the second part of the presentation can happen. As we told you in the beginning, we are co-curating and organizing this project together. And it would be nice that you meet them and also hear their, in their own words, this presentation. So please, if you want to pass to the front yes hello and thank you for introducing us we are one we are parts we're potatoes we're parts of potato publishing which is a diy dit do together open print studio risography mainly in the location where the design week will take place in the next day so in the um former viet'sisala. So we're very lucky that also our workshop is there. So we run this open workshop now for about three and a half years and like we are not, I mean some of us are somehow more into design, some of us are art educators, so we're a mix of about ten people in general. Some of us are art educators, so we're a mix of about 10 people in general. Some of us are students, teachers as well. I don't know, should I go into more detail about what we're doing? Yeah, maybe you can join Paul. I'm Paul, also part of Potato Publishing, and like Sarah said, we're a print studio, and that's our main focus, to provide infrastructure for people in Lens, but now it's not only L that um otherwise don't have access to it because they don't study at the only or because there is not enough space at only um and i think maybe to also go on about a bit about how it connects to to the design week um it i think the project like it's it comes out of the self publishing movement and this is very much connected to you know finding your own audience and building a community that is not like facilitated or governed by a corporation like nowadays we all also connect through let's say Instagram that's also in this scene it's like this we know many of the people we collaborate with through Instagram for example or social media but then there is also this history of scene fairs. You meet, you exchange books, you print your own posters or your own artwork. You use technology that you can repair yourself. And so this kind of gives a bit of autonomy and security. But it also comes with some drawbacks. autonomy and security but it also comes with some drawbacks and this political element is not always very prominent oftentimes it's like mainly artist scenes or artist books that are like showcasing individual artworks kind of like analog portfolios and so we're happy that and this and week on Sunday there will be a collective from Vienna they actually the ones who started the risography technique thing workshop in Austria so I bought we got the first teaser from them, and maybe Lisa can tell you something about this workshop, who tries to put a little bit more of the political and scene. I think I'm not going to tell much about the workshop, because I think it's better to have a surprise on Sunday, so sadly, all workshops are fully booked, but we still have open panels with different participants where you can join us in the Schiesshalle or just at least go there and check this very wonderful place and check our studio. And yeah, on the Sunday, there are going to be in the evening the workshop with the collective from Vienna political poster workshop so register and the link for the registration is on the website and also in our Instagram there are much more information so subscribe and follow us yes but we are very happy or you just come by and read the scenes and get to know yeah we have a very nice library and very nice shop we have a huge collection of everything and yeah yeah and the topic of the political poster workshop um the political poster club that's the name of the workshop they did it two times now the one topic it like once it happened parallel to the to the pride so that was the topic then another time it was like a part of the critical mass so the topic was like bikes and now the topic related to the design week is big tech, anti-big tech. So if you have some aggression now, you can come on Sunday and you can design really good eight posters. And spew all of your aggression on canvases. Yes. Thank you. And also they wrote us yesterday that they think it's nice to have experts in the workshop, experts on the topic, and I said, yeah, I will ask someone, maybe they can be an expert talking about something, but I don't know, there's a lot of experts, I think, so you could just participate and be the experts, maybe. Kanbai. Come by. Thank you so much. Okay, and just as a short advertisement as well, in the entrance we have a table with books from the set margins editorial um that yeah we got just for the design week so if you want to check them out they are very cool Sorry. So, we have our first presentation called To Change the Rules, Change the Tools? by Joseph... I'm sorry about this. Kner Zinga? Okay, you heard it. And Simon Repp. Thank you for being here. Joseph is a design art prototyping teacher in Rotterdam and arts crafts education student in Vienna. He regularly takes devices and tools apart to create anachronistic, fictitious timelines. He loves to take long hikes with a document scanner to capture the details of the world. And Simon is a developer and designer with a focus on ethics, simplicity, and sustainability. Thank you for being here today. back to a methodism by Wiesel and had the kind of email-based tools of our kind of reality and early idea of the commuter. Actually, this commuter had just worked until today. In the back is the Osborne 1, one of the first mobile commuters that was engineered by Wiesel. However, we have learned our sales to add a question mark. So why? This will explain. To the question mark, not to the computer. To the efforts to change the rules, change the tools. There are many projects in publishing nowadays that work with our software. Some form of executable that runs on a computer. Therefore, it is an essential part of our software. publishing nowadays that work without software, some form of executable that runs on a computer. Therefore, it's an essential part of France's design education nowadays and it seems there's no way around it. And if you consider software as a tool, in a simplified view as, let's say, something purely instrumental, let's take a hammer. It's somehow a very complex hammer, and it has a complicated manufacturing process, and with multiple layers, and it's complex to execute, so you need could consider as the normal in designing a navigation, is a proprietary hammer. So it's quite a red box, so all the parts that make this hammer to a hammer are kind of hidden to us. We could say it's like an understanding of means just for the purpose. So an instrumental understanding. And it's also a quite expensive grammar that institutions tell us to use. Until 10 years ago, it was quite normal as a student that you just read the software that you told you in your classes or that teacher helped you doing this. So then you kind of circumvent to buy it. And you might bought it later when you become like a professional designer or artist or whatever and you had the money. However, this default status became quite complicated with the introduction of the so-called Software-as-a-Service business model. Here you don't buy the software once, or more specifically the license of the software. In Software-as-a-Service you have to rent it with a monthly fee, a subscription. you have to rent it with a monthly fee, a subscription. A shift to software as a service economy marks the introduction of today's cloud infrastructure. Larry Ellison, the CEO of the cloud and database company Origin, that is widely used, said in an interview in 2006 with the National Times, we make more money selling software as a service than we make just selling software. I'd much rather be in the monthly service charge business. I've said it repeatedly. At present, a huge percentage of our sales are done in the last week of a quarter. All of that goes away. It's a much better business model. And, hear it, our margin dollars will increase at a higher rate with software as a service. Plus there is no piracy, so the cracking of it is not as possible, and no need to maintain the older versions of the software. There are huge advantages to this model. What started with some companies was after some time used for all different kinds of software. In 2013, at Obeel, the big political investor, and now you have to pay monthly a fee of 6 US dollar. In the context of education institutions, there are so many offers and so many challenges to offer you, and it might be a reduced version for teachers and students. So I think for Austria, the current way as an education institution, if you buy 500 licenses, you get it for five euro per person per month. So it's like really quite different being this as a student and then they. With this unique way, the humanity is related on such products. Somehow like driving a school that just teaches you how to drive a Volkswagen. So only at Montreux City you can drive a game. Or in the metaphor of the hammer, the hammer in your student time is almost for free, and after you have recurred as a student in life, you have to pay for the hammer a month to pay. Something you wouldn't actually do for the hammer, because yeah, if you have to pay for the hammer a monthly fee. Something you wouldn't actually do for the hammer, because if you have a hammer in a matching workshop or in a group workshop, you are the payer, you are the defense, but the software is quite accepted. From my own experience as an art student and art education, where I am a student in Austria, the relation from software to the tools and art and design education could be easily utilized, exploited, instrumentized. Second, there is a present understanding of the students for the means of their purpose, and not its relational content. Third, it is proprietary by default. Fourth, there is an application training instead of teaching content. So, for example, you can just think about classes where you learn how to use file on cart, but not the concept of non-linear view entity. And five, there is like the occasional license fee, it creates a huge advantage on this product. So, right, here is this slide. If we now try to bring this into some kind of theoretical framework, I think the concept of precarious capitalism is useful. It's like a book on 2020 capitalism on edge. Precarious capitalism is a successor of the new liberal novel, and so the software, what came around in would be that, for example, in Africa, we have a form of structural injustice. So, both side, structural related ones, injustice, like structural domination one, these are generated by particular social institutions that are underpinned and they would come and which is exercise a RAND type of control, such as a natural monopoly, but whose exempted from the pressure of competition. So in this we have this situation that you can trace back to the introduction of the software as a service RAND model. So and to emphasis here again is that any patient institutions the institution is creating this because they are convinced in this. There is no way to say this. And so yeah, as an alumni you have to just get the tools that you've got to learn to use, you have to be able to. And this is just one of the major problems of recurrency. So I told you now something about the structural problem and Simon has the solution. No pressure. Yeah, so to go a bit more into the practical matters of the topic, what we can see here is the online directory of courses offered here at the online directory of courses offered here at the constant aliens but rest assured this is fairly representative of any university out there and what we can see here is that we have down here a course which has digital image editing basics and that is taught via software called Photoshop which is of course Adobe Photoshop so a product of a private profit-driven company and if we check that same thing for vector graphics editing it's the same thing we have Adobe Illustrator and I think you can see where I'm going with this also for video editing and also for layouting and also for visual effects basically what is happening here is that a public institution with public money is teaching the entire product range of a private profit-driven company. And I find there is something really wrong about this. So we invest public money to do distribution, to do marketing, to do training, to give support for these companies. And on top of that, we can also pay them that we can even use the software. And as Joseph has already stated, as soon as you're out of the university as a student, as soon as you've been educated in these tools, have been hooked on these tools, you basically, in the worst case, are dependent on them for your lifetime. And each month, you will pay this company a fee so i think this is just completely backwards there are definitely some strategies happening so it's not that nothing's happening but we think that there are lots of things that fall short that are done right now so first of all alternative tool practice using public tools, using open source tools is usually considered some kind of a meritocratic DIY thing. So each year you will have many students graduating from universities and somewhere you will hear a professor say something along the lines of, this student went above and beyond to use only open source tools in their practice and to sort of subvert the capitalistic system. And this is all very nice, but our point is that this really should be a matter of structural change of making this practice, this subversive practice available to everyone. Every student should have the opportunity to work with tools that don't exploit them, that don't put them into an exploitative situation for the rest of their lives in their practice. Then consumer mindset for software tools. So to bring in an analogy, universities spend a great deal of money to provide great facilities, and rightly so, to provide great labs, studios, workshops, exhibitions, spaces, and so on. So there's very much a mindset that we can build spaces, that we can build our own, if you will, tools, if we want to consider spaces also as that. Whereas in the software world, we very much rely on just grabbing something that comes out of the private complex. And I think this can and should change. So we can definitely take funds in our hands, especially as we divert them them and don't give them to Adobe and other monopolies. We will have the funds to build our own tools to support the tools that are out there already. There's also often a genuine drive to change things, to use alternatives. But often it lands within a fallacy, which is that software that is free to use would be an alternative, which is clearly not. So anything that is free to use in a capitalistic context at some point will not be anymore. As soon as it's profitable to not make it so, it will not be free anymore. And the same goes also for the narrative of a good company. So often we think like, okay, Adobe are bad guys, and then there's some other company which are not as bad right they don't charge as much they don't have like a rental system but like one-time fees but it's in the end the same and we've seen this so often so often it's really getting a bit comical by now that basically either those companies rely on us as the good alternative either they start exploiting us themselves or they get swallowed up by Adobe and then it's the same thing all over again. So what can we do? Of course, tell everybody about it. We think that really these things should be basic digital literacy and should quickly become that. Public tools need to be the default. if people come into a university if they're taught foundational skills no matter the field this should really happen with public tools by default so that students if they leave university have a chance to do their work without any precarious dependency without any exploitative situation where they have to pay money to cooperation all the time and often there's an argument against that which is roughly that you don't get hired if you don't know all of these tools I will just say this last week I was at the computer animation conference in Vienna we had one of the speakers who got hired by ILM in Vancouver so that's cream of the crop visual FX in Hollywood what he said basically he got hired although he had no idea of the tools they were using there. The only question asked was, how fast can you learn? And that he did, yeah. So people get really judged by their artistic competency, their foundational skills, their excellence in their artwork, and if all that is there, then the software choice is really not that much of a factor and on top of that if people really want to use and learn adobe tools for instance i'm sure that adobe and microsoft and so on will be happy to provide free training because after all that is what they want to do right get people hooked so um let them pay for it and not the universities um yeah we should already um hinted at that we need to sponsor the tools that are out there. There's a lot out there already, as we already heard in the DDA talk. And we can also allocate funds to build our own tools, just the same. To put this in a more wider political framing that already is out there, so often we hear about public money, public code, and we propose that it should be the same really for educations if it's a public education we need to use we need to teach public tools and lastly a lot can be done in a university just allocating a little bit of funds from a university to for instance an existing Libre project will already do a lot because these projects run on very little financial means and still get so much done. But if universities really form alliances, if they collaborate, then we can really turn the playing field and very fast. So this is something we really need to do. And lastly, we've been working on this problem a lot in the last months and the last years. So if you want to get in touch and talk a bit about what we tried, what worked, what didn't work, if you want to get in touch to make this happen, please do so. And thank you for your attention. Thank you so much. I guess the questions will come later. So we pass to the next presentation with Lucille Hutt. With the title, Using Web Tools for Print Graphic Design. Lucille is an artist, researcher, and educator. Her research brings together spirituality, technologies, and politics, understood in the broader sense of a committed and eco-responsible living together. She uses and teaches CSS print techniques techniques she is the founder of the web to print collection web to print.org she is a lecturer in art and design at the university of nîmes in france and associate researcher at ecole des arts decoratifs in paris a cold dessert decorative in paris thank you so much for being here lucille so i want to talk to you about a specific way to do a publication edition with the tools of web meaning css and meaning CSS and HTML. But first, why and what do I do personally with this methodology to do graphic design? I'm not that much good. This video is from Julie Blanc, which is a French graphic designer, a very, very good graphic designer using HTML and CSS to do books. I will show you one of the ones she did. So this is a quick presentation about how we do HTML and CSS. We use these two languages, which are open languages. Everyone can use them. They are not linked to a specific software. Everyone can use that and do graphic design. And then you will use the brother. You can use Firefox. Thanks, Firefox, because since few weeks, they use the fact that you can change the size of the page. You do not have to use predefined page like A4 or the DIN size. So now you can have a specific page. Before that you used to have to, you had to use Chrome or chromium etc etc so you can use open source tools and open languages such as HTML and CSS to do books I am NOT a very nice good designer such as Julie Blanc I use this methodology and this tool to do the graphic part of my art installation, such as this big wallpaper that used to be presented in Dortmund in the HMKV during the techno-shamanism exhibition. I wrote the text and I wanted to take care about the way the text will be presented to the audience. And I did that again a few months later in France in solo show exhibition. I also use this methodology to do the quick printing of the texts that I write. So here is the output of a writing residency in La Maison de la Poesie in Rennes. So you can see the code a little. And I also do workshops because I am not as good as a lot of people I will show the work today, but I am very good to do the ABCs of how to try to think your graphic stuff with HTML and CSS. What do you need to install of your machine? And I am good enough to go through Mac to PCs, computer, and to different keyboards. And I'm always never comfortable, but that's okay. And I will help you if you come to the workshops. That's what we will do. I do that. So that's what we will do. I do that. There's a Cyber Witches series in three days workshops in art and design schools. And the three days include the install party and the print part in three days. So using open source tools to do graphic design is not that much new. In Europe and in the French speaking area, the pioneers are OSP, open source publishing. They are based in Brussels and some of them are diplomed from the Art and Design School of Valence which used to be an important art school about open source tools and of course people, teachers are moving and they are not the same team right now but it used to be a very important place to teach graphic design and open source tool and here in this program you can see maybe you saw my finger showing the end the beginning of a picture and ending on the page after. So it was a proof of concept, this very programme. Since the beginning of OSP, a lot of graphic designers started or continued to use HTML and CSS to do books, as you can see on the top, the two ones. The first on the left corner is also from OSP, Open Source Publishing. The second on the top is from Sarah Garcin for Presse de Sciences Po in Paris. On the back, on the bottom, pardon, on the left, you have a book made by Amélie Dumont. She is also based in Brussels, and she did that for FabLab, and only three printed copies are existing. And the last one, maybe you know them, they are hackers and designers, and it is one of the last ones that I saw. I saw. What had changed between the Pioneers OSP in 2013 and the fourth last one I show you. It is a specific tool which is a JavaScript library that is developed by just three people and it's used to implement some rules, some CSS rules. First, this book that you are seeing here, La Villa Chiragón, is a collection book from a museum in the south of France in Toulouse and it was made also by Julie Blanc. It is the very first book that is made with this JavaScript library, PageJS. And Julie Blanc is one of the persons that is in charge of PageJS. And what she does, she did is the print book that you can see with some very nice bronze and also a quadri printing and also she did the website and it was the the la commande what wanted the client but she did that because she had the opportunity to she she knew how to do it she knew how to to do the JavaScript also. I don't. And what I care also is to do the, to help people to have the first steps. That's what I do when I do teaching also. In the same time, I show you the very beginners and what I care about, because I'm a big fetishist of paper, is to keep the books, to keep the very material artefact of what happened and is happening in these changing tools. Because, thank you all of you for the previous presentation, we are all saying the same thing. Adobe is taking too much money from our schools, from our institutions, from our universities. And also, when you get out of the university, from your own budget as a graphic designer. And so, willing to show how it is possible to make great graphic design with other tools i started this project with content jewel who is also a graphic designer and a teacher and we built the web to print library so it's online for now the list is we are working on it but we started with 30 books and zines and very big and very small object printed object and we started with 30 and now we have more than 60 and some of them are offered by the publishers themselves. Like the last one we are very proud of is from the Musée du Louvre in Paris. They did a book, a collection book, not an exhibition catalogue but a collection catalogue, and they made it in web2print. And the website is open for everyone, but if you want to have the printed part, it's really expensive because it's print on demand, so it's like 80 euros, so very expensive. And what we are doing also with ContentJouel is having documentation. So the video you saw earlier, that's part of the work we are doing. We are doing the documentation of the artifacts themselves, so to put it online and to have everyone able to see it. And also, we are doing interviews with the graphic designers to understand how they made the books. And also, as I said, I am not a good developer, coder or whatever, so I wanted to have a tool and to spread good words about web to print, but I also understood that the tool needed to be easy to use. I wanted a tool that was not for programmers, but that was also for editors, because as it's been more than 10 years, even 20, no, not 20, that I am in institutions, I see that institutions, schools, and universities, they often need to have printed stuff or published stuff from what is happening inside, from students, workshops, conferences, seminars, lectures, everything. And so I understood that when the university or institutions or schools understand that this work needs to be paid, that you need to pay the graphic design, in the same time the people doing the editing, the writing edition, they are not paid more because it's part of their job, because they are researchers, some of them. And the timing is always a problem because it's always a problem to understand that you need to finish the edition before to give it to the graphic designer. And it's always, I saw it so much time. So I wanted to propose a tool that is a collective online tool for edition and in the same time for graphic design. So it is ongoing right now. Some of my students are the first beta tester of Bookolab and they are finishing the first book that will be made by Bookolab next week. We have printed it in the University of Nîmes. And Bookolab is a collaborative tool for editing and design publication for different reading media, printable version in PDF, and screen version as a web page. And what we can do is collaborative online editorial work, synchronous or asynchronous. Sorry, it's only in French for now, so I do the translation. Proofreading and editing online. Online also, the graphic layout, so style sheets per project and specific contribution. And you can do multiple export formats, static website and PDF. You can do parallel project management. So right now we have three projects ongoing. The first one is a student work for the third year bachelor. The second one is a work from my colleague in my laboratory in Nîmes and the third one is the Aïosium act that we do we are doing with the equal design decorative in paris and we will start that after my student will end the place because we don't want to have so much collapse and you can do parallel project, okay? And you can also do that without prerequisite in HTML or Markdown. Et voilà. But that's not the tool I will use for the workshop. For the workshop, it will be really the goal is to help you to have the tool on your computer at the end of the workshop. So we will do an install party. I will give you a template and you will not need to go online on BukoLab to do that. Thank you. Well, and we will continue with the last presentation of today with Silvio Lorusso, that is not in the room, but virtually, and who is is also who just published his book and that we have in the entrance if you want to check um sylvia is he there already yeah Yeah. Thank you. okay we are in the same process, but I can start introducing you. Silvio Lorusso is a writer, artist, and designer based in Lisbon, Portugal. In 2018, he published his first book entitled Entre Precariat. He is assistant professor and co-director of the Center of Other Worlds at the Lusófona University in Lisbon and a tutor at the Information Design Department of Design Academy Eindhoven. LaRusso holds a PhD in Design Sciences from the UAB University of Venice. Are you listening to us already yeah yeah yeah yes yeah we do yeah so we will have the talk what design can't do on semi automation and cultural professionalism thank you Silvia for being here tonight. Today I'm going to talk about, I'm going to present this new book that I've written, which is called What is Ironing? I would just ask to give me a sign if I take too much time to speak, like if I can too much time to speak. Like if I'm in a chat for a long time, I put the screen up, I can share that. But yeah, I really didn't take much time on my introduction, so it was a really long period. Well, I believe the book is already present, basically, so you can have a look in person, in flesh. It was published by Z-Mans and was designed by Federico Alcuni. And the topic is somehow a little bit that surrounds the practice of all the young. Today I don't want to spend too much time on reasoning why there is a voyage of such a solution. But I want to show that the language of life is not only I think of the whole of the collection of, well, we know that one of the collections of my kind of money and education, of this illusion of that online, and in the context of this land, I want to think like more on the conditional production of this manifestation of this illusion, that of all the means and software and so on and so forth, tools used to manifest that. The starting point for me to reflect on this is the deal of the activities of the human representation and the tools for that. Oppure, io tenendo in conto i raffreddamenti del resto della rivoluzione, ma, in ogni caso, c'è un'altra cosa che mi piace molto, e che è la verità, che i social media in particolare in loro opzioni hanno avvistato and the other options, including in their own options, quite advanced graphic designers. To the extent that they produce graphic designers through these tools, people like for example the story editor of Instagram don't think even that they are like going graphic designer. So this is like connected to a longer history of demystification somehow. Michael Rock, which is like famous, well known US graphic designer, was speaking about that period of like the argument of desktop publishing in terms of fear somehow. ko sem govoril o tem periodu, ko je publikiral artene in deskor, v tem, da je zame v tem, kot so linije in tako daleko, ki so vse vzoreči demokratizacije in dinamike profesionalnega razvoja. Z tako zgodbo komputerizacije in to je, kot sem že povedal, veliko težko, mislim, da lahko razvijamo dve stote. Prvi je, da je izgled našega predstavljanja, kako najboljša, kristalizirana v svojo občutek, nekako osvobovalna funkcija v svojem občutku. In tako je graficko predstavo do nekaj odstotkov tudi mojega občutka. In na drugi strani je tudi minorita vzimljenj, ki so bili zelo zadovoljni in mogli nekako kapitalizirati na tem demokratičnem izvrstu, postala kulturni producent, ki je vzimljen v vizualno kulturo, ki je izvrstila s novimi občutkami. of the cultural producer who interprets the visual culture produced with the new tools. And in particular with what I would call the technical vermetry, the digital vermetry. So focusing very briefly on this first, let's say, majoritarian effect of computerization and design, of computerization and design. I think there is something to take on from a notion of the roots of professional operand. And I was really fascinated by this quote by Ellen Goldman, a great, great author, who in this case is speaking about programmatics, but you can feel how what she says can be zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo in da si v tem času zaščitil, boš bil začel v mnogim in v malo mnogim prestižih. Torej je tudi ta prostor prestiži, ki je v tem času zaščitil. Na druge strani, na tisti minoriteti, ki so bili v redu, ki je bilo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo action. And often in the creation of a certain, how to put it, an opacity, a willing opacity, as other, let's say, commentators at the time were speaking of even like a degree of so pri tem še počutili nek grad vzdušenosti, kot je Steven Allen, ki je v nek način vzdušen na njegove naredbe, kiice, da se naredijo tradicije. Klasična pripravljena je tudi magažin Emigre, ki je predstavljal čisto težavo o metodih. In ne zgodilo se, da je tudi tajtelj za to vprašanje bilo, da je to zelo zanimiv vzor. Tudi vse to je zelo zanimivo. In tudi vidite, da je tudi del vzorja, da je tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudi tudiolu je tudi en ekstrašen čas, ki se razvija v svojem stolu, ki je omenjena spremenom, ki je to, kar bi povedali, nekaj nekaj nekaj nekaj. Ideja nekaj nekaj se je prvič razvijala, kot je bilo v emigrijs magazine, ki je bil v konversaciji s Van der Lansom, ki je bil na primer za emigrijski. V bistvu je bil Jean-Pierre Roth govornik o tem, da je tudi naša predstava za razmišljanje za desajnje, tj. automatično, v nekaj nekaj kratkem. Tudi v tem je bilo kritično. Tudi vidite, da je govoril o kako je povedal o zgodbi o zgodbi, o nekaj tako zgodbe, ki je bila prejšnjična. To je bilo zelo zgodbovno, to idejo o preščitu, o zgodbi, o zgodbi in o komfortu. Kaj je bilo v tem času pripravljal? Sprečal je o tem, kako je izveden experimentalni jet set. Vsega je vznikal na to, da je to nekaj nekaj nekaj nekaj, nekaj nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj, nekaj nekaj nekaj nekaj, nekaj nekaj nekaj nekaj, nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj nekaj ne But I think he was more right about manifestations that came afterwards, when the web became widespread. I'm speaking of the use of, really like the defaults of HTML and CSS. For example, this is the personal website of an artist, provided by PIPC in 2011. So basically, no intervention of the default of HTML. na naši strani, na naši strani, na naši strani. Tako da ni nekaj, nekaj, nekaj, nekaj. In tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave, tudi težave tudi te je zelo zelo zelo zelo kritična za vzdušenje, vzdušenje web-sites. In to je zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo like the low-tech magazine, the solar-powered version of this magazine, which is loaded as a typeface, which you have installed in order to save resources to maintain this website up to consumers and to business. So how can we look at this app? in kaj je to. Kako lahko gledamo na te predstavljene? Veselim se na to, da predstavljene predstavljene resnično preizpravljajo predstavljeno razmišljanje. Vsega me je zelo zanimivo tudi tisti nomen, ki ga je izveden kot kripto, kripto, ki je nekaj nekaj basicnega kritiče basic criticism of full automation, in which basically the gestures of workers were recorded on a fixed vinyl and then they could be reproduced endlessly. And then of course you can imagine automation doesn't stay in the working class will have the long inches you know engineering with the engineers now so you can imagine how the input seems but this kind of like pre-recording design decision we see it in other manifestation of that for example when i connected created this utilitarian poster which basically we can't see V 1998 je naredil tudi tudi tajniki post, ki je zelo dobro prejavljeno, ki je vsega vsega, ki želimo vključiti v razvoj, da je to nekaj, kar moramo vzeti v razvoj, da ga lahko preizvodimo. like creating parody or a bit of all the possibilities of pre-recording of sort of disanimate decisions. So maybe like the ultimate poster that is utilitarian substitute all the other posters. Sort of late parody of dream, the modernist dream of like universal somehow. zelo leto, modernistični državi, nekako universalnih, in nekako to vzpomagajo do nje, ki je bilo zelo zelo zelo zh in desktopovnih in tako dalj. Vse pravijo, da smo prihodniki nekega novi tehnologijskega objavljanja. Ampak nekako niso se znali, da je tudi tudi tisti, ki so prihodniki profesionalnih desajnerjev, so bilo vse drugače. In tako so se te njene stvari, ta vse visualnih imagini, začeli dopeljati v mnenje ne samo profesionalnih desajnerjev, ampak vsega. In to je zdaj zelo jasno, da je Photoshop ne samo softba, in da je bilo nekaj,ih. In to ni bilo treba, da je bilo veliko predstavljeno, da je bilo s svojim telefonom, ki ni nekaj, kar si predstavljate, kot tehniko, ne, samo kot gest. Ko govorim o tem zapopravljanju, o tem komentu, o tem, kako se predstavljajo predstavljanje na this production big of designers on the new visual landscape, Steve Navier was speaking on this market. So when this minority designer was somehow looking at the new tools available, it was happening and to a certain extent, a form of sub-sumption, not sort of encompassing the technology itself. So the technology is inhibited in a certain sense by injecting, by interpreting, by building a culture, or injecting a culture around it. And this meaning is somehow similar to the invisible fraction. It's like a bit, if I can imagine it, a bit like, I don't know if you vidite Stalka, Tarkovskija ali Anahilation, Jeffa van der Beno, A. N. na tistem, tudi tisto kulturo, katero je nekako nekaj nekaj glasbeno razmišljanje, vzimno vzimno v znanje profesionalnega. In nekako to vzimnoečejo začeti v tem časopisnem modelu. V tem kontekstu je desajer profesional, tudi kulturni profesional, ki je vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega V tem času lahko pripravljamo, da je kulturni profesional tudi amatere. Amatere so zelo zahvaljene za svojo ljubezen in svojo življenje. V tem času so završene, kot je to, vsega od klasične organizacije, katero je v 60-ih, katero je v flamencu, katero je v sotih. In v tem samem času je odločen od nekaj nekaj nekaj. Vse te razmišljave lahko razvijamo na zelo veliko. Kaj mislim o tem? the notion of the grid. What do I mean by that? I'm expecting, like, a metaphorical understanding of the grid. Daniel van de Velden, which is like one founder of the studio that I recently spoke of this grid as a grid function that the design had. toga grada, katero je imel predstavnik. To je predstavnik, ki lahko organizira svoj svet. To je to, kar je zame povedal. In on je povedal, da je predstavnik izvršil to predstavnico na platformih. In predstavnik je seveda postalo kontent platformi, ki je organizirana s svojo logiko. Da vam povedem, kakšen je danes čudovaj utopije, ki je izgledala super-studi, radikalna, predstavljena, arhitekta, skupina od 60-ih do 70-ih, ki je strukturira svet. In kaj je zdaj zgodovina? Zgodovina na platformah, ki jih seveda ne mislim, da je to samo inakšen, ki je v kateri je predstavljeno, ali tudi kako je v kateri je vključena struktura, katera ga vprašamo. Vseeno je to, da se na Insta ne moreš vključiti na hyperlinks, ki je v bistvu, da je izg je vznik 3 in tako daleko. Vse v tem komponente, v tem izljubu veliko funkcionalnosti, je včasih vzniknilo v proces, ko v tem samem vse, kar je izvršeno, je priznamočeno do prvojej zgodbe in je priznamočeno do svojej zgodbe. In ni to nekaj, da je ena od prvih skupin, ne prvih, a ne prvih, kot je priznamočena, ali kako to povedati, without even like, even using like software. Zato je bilo to, da je desajna na eni strani. Zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživijo več, ne preživ več, ne preživ ve Kaj je to? The Great ni ena zelo zadovoljna kriptovalutna stvar, ne je samo v grafiko, je tudi v svetu oziroma oziroma v občutku. To je samo nekaj, kar se počnejo. Mislim, da je lepša učenja iz The Great in AI-truških stvarov, ne zelo, da se bo dovolj avtomatična. Ne mislim, da se bo to zdaj zgodilo. Zelo zgodno sem, ker ne imam časa. Vse te tiste stvari povedajo socialne osebne osebe in življenja. In ena od tistih socialnih oseb je, da jestavljajo kot kakšen drugi profesionalni, ki jih osebno osebno osebno osebno osebno osebno osebno osebno osebno osebno. To je tako, da je to vznik, ki je vznik, ki je vznik, da je to vznik, ki je vznik, ki se ne povrdi. In to vznik, ki se vznik, je že zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo persona concreta. The response, the general response to this is that designers, not only product designers, graphic designers, but the ones who somehow design how the machine works, how the AI thinks, to use like a peri-use method. But of course you realize very well that very few people to je tudi nekaj, kar se je zelo, je realnost semijske automacije. In tudi falske automacije, ki so automatične, ampak ne so vzpomeni za nastopnega. Mislim, da bi govoril o nekaj stvarih, ki ne bomo nekako razmišljali, ali seveda ne bi razmišljali, da je to resnična debelja v razmišljanju. you know, we don't even consider, in general it's not much debated in design, the very fact that while we speak daily about full automation and AI, you know, a lot of publications, publications done by hand, exporting the typesetting work to countries like India. So, for example, here you see this wild fact that there is this image claim that is done by a link Photoshop. And a lot of publishing houses just outsource all typeset types of books because it's still cheaper than AI that doesn't feel like the task proper. Another nice representation of this kind of semi-automation is this GIF that you would find on fiverr.com, now this online marketplace, that not so long ago applied a section of their website to sell AI-generated videos. So you would have this animated GIF, an actual design seen from the top, that would kind of look like design. So it's fascinating because I hear of course there is no design, but the figure of the designer becomes some sort of allegory of the designer activity, a bit of a scale of face and work, a bit like the floppy disk for the icon of Cine now in that sphere of the day. And Cine automation is also present of safety now in that sphere of planning. And senior automation is also present in the fact that now product design, the students who actually design, is very often characterized by this kind of modular approach, which you are not like this kind of artist, like I'm planning that, but more like someone to put together um yeah um i'm just checking the time that's why sometimes i do this but i don't see any comments or five minutes it's okay Five minutes is okay. v katerih se institucije vznikajo z njimi. Če se znamenimo tehnologijo, seveda z njimi, je to nek formel enchantment. To, kar se zelo zame počutijo v instituciji, happens very much at a level of institution but also design practices is that somehow the design itself like all the work they put is somehow a decoration to the design itself and it's like this picture in which like all these people seem like props to show the visor and not why it's a visor no It's not that they are using the bias, they become like this sort of actors in a theater play that in which the protagonist is the technology. This is what I just explained. Often happens within schools in which, now I chose VR as an example and don't get me wrong it's not the right thing to think that there are examples of valid work with VR but it's a bit of a telling example more than in other fields in which the technology sort of speaks more than the world also in terms of possibility i would say that it is easy nowadays with with mid journey and with other tti dti tools which you know it's um it's always it seems that by using an image you are going to Vse je, da se po vsemu, da uspeš, da boš vsega začel. Tako da se je desnična delovnica, kot ki je pomenila, da moraš učiti kodirati. In kodirati ni samo ena života, ki je posebno močna, ki je različna za profesionalno prestižje. V pravi, to je nekaj delitve, teritorij, katero je veliko za profesionalno prestižje. teritorij, kjer je to tudi teritorij za profesionalno prestiž. In to je zato bilo to veliko temo za veliko let. In tudi kodir je seveda zelo prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče prejšče again thanks for like because of of ai so we have like this feeling this growing feeling that the program is to one computer science belongs to a profession and you find that it's a nice presentation I guess I don't need to explain it, but the contribution of a user sort of happens to send a message to possible recruiters. Finally, the last part, four more minutes. I have two minutes, perfect. 4 veče. Imam 2 veče. Digitalna Bernarkula. Kaj se z njo počutju v tej klasični proizvodnosti tehnologij. Kaj mislim o Bernarkuli? So, what do I mean by vernacular? Well, it's a bit what happens with taking a picture in the phone. The technical part of it sort of gets in the background. So the technicity of a practice becomes a place of disavowal, and the practice becomes a cultural one, and therefore becomes a text, somehow semiotic, something to read and interpret. This is the space for the author, the Bacchusian author, to go up from their bed and have an advantage. from their land and have their advantages. So, the appropriation, the vernacular, the reflection on vernacular has to do with the digital tools, given also the connection with different cultural contexts, manages also with a kind of look towards other cultural contexts. This is a very interesting case by Manuel Lug, in which he basically took a time to invite and thus designed their commission to make a business card for any savings, just like, look, I'm a designer, you are. And this very nice is that the designer creates some elements that speaks of the technicity of a graphic designer, so the gradients of color, vzimati, kako je gradacija kolon, vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzimati, kako je vzgoj z tisto veliko mobilno. Ali tudi je tudi nekaj, kar poveduje o tehniki vzgojov. In v tem času lahko se lahko vzgojimo zelo zelo zelo na to, da je grafika moja vesela, da je moja vesela. zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo zelo nekaj kot čisto amatere, ampak bolj kot obdobje materialnosti v obdobju desnega obdobja. To je nekaj, ki se razpravlja v digitalnem obdobju. Vse to je prejšnje, nekaj, ki se je izvršilo vsega. V tem kulturnem profesionalu, ki ga imam, bi se želel, da bi poslušal nekaj tekstov, ki bi razložil kulturno profesionalno. Če uspeš začeti s komikstom, in se lahko zelo zelo zgodno pregledate, And I would just read it. So if you use comic sans and you can still be taken seriously, it means that the arena of your practice is a cultural one, that you are a cultural profession, a professional that is allowed, has the legitimacy to operate as a professional. Thank you very much. thank you very much thank you to all of you for your contributions it was really inspiring and also like a broad scenario of ideas that maybe brought to the more creative aspect of the initial questions that were yeah creating more questions about what to do or how to take action and in the first contribution you point into a political action on the side of the institutions and not the individuals. And on the other hand, Lucille has a project that is ongoing and that you can fully manage, let's say, like you know all the aspects, and you are also connecting it with others, so it's actually becoming broad. And Silvio, I would say, first of all, the practice of writing. It's already a political attempt beyond the design itself, which is your topic, that I like a lot because it touches a lot of... or like this profession that maybe doesn't have a critical theory that is so strong. So I think this is very relevant, all the things together. And well, many topics connect here, which is about the professionalism of the practice. So first we were changing the idea that, coming back to Honor actually, who said that the idea that open source tools are ugly and the result is also ugly and this is an outdated idea already and for me I found my answer in this moment because you showed different examples and also also Simon and Joseph talked about thinking of the artistic value of the work and not just software skills. So this is very interesting. And then in the end we have the fact, the funny fact that even if these tools are ugly, we can afford that right, because we are cultural workers. But not everyone is a cultural worker. we are cultural workers but not everyone is a cultural worker so this is an interesting point how to bring this to the real world and maybe this would be my question in the next step of the propositions that you make and in the case of in the case of Simon and Joseph, I was wondering how could we start this action in an institutional level? Because we can talk about this here, and also there are some teachers and academics in the room, but on the other hand, it feels that this level of institution is very hidden or unreachable, so which would be like first steps or practices to bring this topic up. I think actually that Joseph myself an expert, but I think what it needs, because it's a structural problem, so it needs a structural change. For example, I'm an educator, I'm an education student, AR student, an ART education student. And what interests me is of course to have availability of tools that students can just use and that don't depend on, in worst case, on the RAM model, but also on models like when you pay for the data, like, you know, free tools that you can find on the web that are full of advertising trackers. So here will be the first phase, so in the context of art education, to enforce existing laws with GDPR, general data protection regulation, and second, to come up with infrastructure, like building a public infrastructure so that actually schools don't depend on companies like them i mean what happened during the covid pandemic was actually a good example how to depend on other companies and actually that you can come up with the public to support this infrastructure what doesn't need necessarily to be a bottom-up process, it can be also kind of, it's actually a top-down decision, but if this top-down decision is implemented, it means of course a form of democratic institution, a gay institution that, like, a demos that wants to have this, that it's later than by. And for art and design, like in the professional field, how we are testing with an example of Ed Ruby. Ed Ruby, at first step, would be of course that art institutions, academies, universities come together and say, hey, there are actually existing projects out there. We all know them, we've heard about this today, and we all know them. And what they lack is sometimes structural funding to support this. To come up, not to pay like a monthly rent to provideor software to donate actually money so to say hey we donate money to this existing project and what you kind of like circumvent here is that you are not in an exchange economy you're actually like this called like a sharing fund so like don't mix it up with sharing economy because sharing economy is still a classical form of exchange economy where you pay for like I don't know it's car sharing things but so like this idea of the digital commons that you have tools available that are common good, the Almente, the Dodge and they are like then available for to have. And I think this would first of all be a structural change by an institution, education institution itself, that they just donate money. And in the best case, it becomes like what exists around service IT, a culture of, of course, trading tools that people, or we have also with the web-to-brain solution around HGS, that people who, this is of course the training tools that people will be heard of, with the web2print solution, around HGS, that people who, this is of course the best case, that people who use these tools also create them. So that there's not this distinction between the creator of the tool and the user. So that it's actually this mixed up situation, like a permanent, of influencing each other. Just a really short note on that. Something you said actually earlier was that, I don't remember the exact context, but it was about the institution that was basically running out of money to actually finance adobe tools and it was not exactly out of money but the school of art and design of paris equal design is the most well the most well provided for money, by money, from the state, the French state. And in this school, the money that is dedicated to Adobe is 70K per year. So it's enormous. And the school can continue to give that money every year. So it's enormous. And the school can continue to give that money every year. But that's not what we want to happen here. And in my university, it's really less, because we do not have license for all the students. And what I wanted to say regarding the question and all we are talking about is if you want the institutional money to go elsewhere, in France it's not possible to just give money to an already existing project. It's not possible from a school or university. You have to pay for something that is needed for the school or the university. So you can pay a service. You cannot pay maybe the development of the tool because it's already existing, but you pay for something else. And that's always what I am doing inside the institution I'm always trying to have an influence in the way we build the I don't know how to translate that the the stuff you want the provider to do okay the bullet list of what the people who want to be hired, the company who want to be hired have to do. Requirements? Yeah, maybe that's it. Thank you. So this is a way to do that. And this is exactly what Le Louvre, the museum Le Louvre, just did. And this is exactly what the Louvre, the museum, the Louvre just did. And they are not the first one who did a book with web-to-print tools. First was Le Met, if I remember well. But they used a tool that was not an open-source tool. This book that just was launched in January not January, July it was the first one in France made web to print and it is from one of the biggest museum in all world so we are pretty proud of that and it's not linked to the schools but it's a public institution and what they paid for is to develop a tool that can be after that already also used for other stuff but they mostly paid for the time of the designers were you involved in that project like with the loop like with the Louvre. I know the people who was in charge of writing the Cahiers des charges, so the recommendation, but I was not around. I did not have anything to do with that. I just followed the whole project going on. And it's four years of work just building the Yeah, Katie, I'm sorry and And after that your graphic design itself at its height four years Yes, it can be that it's also a vicious cycle the fact that vicious cycle the fact that This software is involved in education then is requested in the professional life, and then it's like it just keeps going But maybe it would be about changing the narrative of the tools no if you would Start saying like this is not necessary and then look creatively to other solutions. Did you want to add something? I heard I'm thinking of two situations, because we are all thinking as graphic design teachers that our students, when they are graduated, they need to be able to use the Adobe Creative Suite because the professional needs, wants these skills on the curriculum vitae. Okay. But on the opposite, I have two stories of librists, so people, graphic designers using open source tools, and both of them, they don't know each other, both of them told me at least once in their professional lives, they had, what was needed is the ability to use open source tools because such association needed someone to do the annual report of all what was done and all the tools used in the association was also open source tools and so they needed a graphic designer that was able to use the same tools that the team of the association was using and so it's also happening it's also something that exists and so it's also in our hands to make a difference on this balance because we are not stuck not at all that's good. Silvia, did you have any thoughts on what we just said? Maybe I can fill up the time, like always. And I just wanted to say that I think like the examples that you just made, Lucille, and then also the proposal from Joseph and Simon, are kind of like maybe some sort of infiltration tactics within the institution. Because I mean, like I saw, I had the opportunity to see uh joseph in action in within this no and then uh we he sneaked me into a meeting with some people from the educational departments in the university we were working um and it was like a moment when i realized like not that moment the seminar seminar thing, but I really thought that actually that the institution is made of people and like it's not a monolithic thing. It has its own departments and a lot of cranium, like juries, people doing something, working groups and whatever. So there are actually many sweet spots where to go and and talk like the oha for example is one of them and it has a really powerful role uh you as a student of the university can have a say in things and uh for example the senate of the university is obliged to kind of follow or take into consideration things so those I think are, but also the secretary on one side, the administration. So you can kind of try to sneak and have a chat with somebody, because those are people in a way. And I remember that conversation I had with Josef in Rotterdam with some people from the education department. Slowly, kind of, it was a coffee. And slowly, slowly, it became something. So I think that's a good example. I mean, of course, we don't all have to do it, but the ones who have capacity and are willing to also try to implement this in the institution have many, many spots where to act in a way. I have a small anecdote to add to that. So a few months ago I was giving a kind of workshop for Blender to the staff at the University of Applied Arts in Vienna. So the idea is basically that the knowledge gets spread among the staff and the staff then teaches it further to the students and one of the lecturers actually told me, yeah, all of my students are using Blender to cut video, to edit video. So I was like, OK, well, actually, my job is done. It's coming sort of bottom up. So I was very happy to hear that. And Blender is an example for a big project, a good example that works on the mission base. And then I read through this and can be made a. Maybe to include also Silvio, who has also history in his texts of very sharp institutional critique and knows very well how somehow some institutions, I don't mean all of them, but they kind of actually can twist and tweak maybe what is going on to create new hierarchies. Do you see some dangers in what we see or some ways of the institutions to kind of build on that in a way that is maybe not good for the students or for the people in there? No, actually, I see also based on the presentation I saw, I see some good opportunities, maybe in the sense of trying to connect to this idea of cultural perfection, to what we have seen tonight. I think the work that Lucille is doing is exactly this, it's doing the work that people like Susanna Lipschko, etc. like the people of Emigre were doing for the proprietary software. So I see next to an institutional agenda, which is what Joseph and Simone spoke to, like a cultural agenda, you need to find the term that is able to become a software to in to je bilo zgodilo s Photoshopom. In tudi ta knjižnica, kjer se je povedala, kako je treba vključiti v to, da je to kulturni propagand. Mislim, da je to pravzaprav dobra strategija, da se ukvarja kulturni termini, kulturni fascinacije, da se to vključi strategy to show the kind of work in cultural terms, in that kind of cultural fascination, to inject it, again, into the store, just as a tool. And so I'm really positively energized by those talks. I would like to open it up for the public audience if you have questions. Hi, my question is to Simon and Philippe. I was thinking about how such projects initialize in the beginning? Because we're like, who does software projects? Who has the responsibility in doing so? Because governments are like, OK, we do fund such projects. But also, the corporate should invest in it. And corporates are what they do. Universities are, yeah, we have the facilities to support, but they don't really see the responsibility to take action. And also, most of the time, it starts by a solo developer investing all his free time in his office or bedroom. And that's also super, super hard to grow because it needs a community behind it. It needs a lot of contribution. And also, I don't really find it nice to expect someone to spend his years into something without getting any any anything back and and also i've seen so many uh projects unfortunately from uh researchers from like postdoc researchers or or phd uh candidates that were in my field they they were developing, like researching something for years and years. And in the end, I mean, it's also kind of understandable, but most of them turned into business projects and they became corporates as well. Because when you spend like years of your life and like, again, like put into so much effort, which is not really well supported by universities or the government, then again, it comes back to the benefits of an individual or a minority task force. So it's like, then it comes back to the question, like who is going to put their time, their life, their efforts, their life, their efforts, their Sundays? Who should take responsibility? Or do we need a different mechanism to open up the future for such projects? My feeling is that the problem can and should be approached sort of in all of these arenas that you mentioned so for instance that could be the isolated developer doing this on their Sundays that's one option and obviously as I stated not always the best one, because it's self exploitation usually. But I think there's not a single approach that is right. I think we just need to try all of them at the same time. And also, when somebody does it, that we really help these people, that we kind of spot somebody is onto something and really throw support to them, like in the form of money, in the form of also just motivational, for instance, that actually is actually quite under appreciated, I think, all the contributions that are also outside of code and outside of money. Something that I feel is very exciting to see lately is that there's more and more sort of, let's say, non-governmental organizations which have a solid funding base somehow. And they sort of know what they're doing, and they have the money and the developers, and they then start projects. And one example is actually from France. Framasoft is one of the really sort of flagship, if you will, initiatives there, because they have a very solid funding. And they have a track record of, I don't know, probably two decades now or so. And they throw out projects one after the other. And they also have a very solid long-term strategy also. They team up also with artists and cultural producers and with UX designers and whatnot. So they really cover a lot of aspects. And I think this is one very promising model, the more sort of these, yeah, it's almost a bit like if you were to borrow the term like these accelerators in startup culture, right? It's like that, but not this, yeah, without all the horrible backdrops that's happening there. So, yeah, I don't know. Thank you for the presentations. I have a question for the concept of web to print. After the presentation, I got curious about how the dynamic behavior of JavaScript could affect the design process for printing. Is there any particular reason not to use JavaScript? Yeah. At the beginning of my presentation, I was missing my notes. So, I may have missed this exact point. So, the JavaScript, the page.js library that is used is in all of the project I show except the first one, the OSP Labelzamine 2013. Except this one, all the others are using pgs. And pgs is a library, a JavaScript library that will just solve the missing implementation of the interpretation of CSS inside the web brothers. That's all. That's all that it does. That it allows you to do what you want with the footnotes and put them wherever you want in the page and stuff like that. But the JavaScript is not needed to do the graphic design of the book. What you need to do is just CSS. You need the HTML, that is the content, and you will do CSS to do the graphic design, and that's all. The JavaScript, it is inside Pages if you want to do a book nicely and automatize. But I don't do JavaScript and I do Web2Print very often. So Web2, the first answer was on my second slide, the definition of Web2Print because today it is also used to name print on demand or stuff like that, or commercial print that you ask online and some commercial providers are using this term web2print. But what we call web2print can also be named CSS print and it's a way to use the language CSS and HTML to do graphic design from the browser. That's it. You're welcome. Are there some further comments in the room? I have the feeling that maybe I wanted to add that I really like all the topics of tonight. And I think one of the big things, I mean the one that know me and know that I'm not really a designer or a coder or something but I also feel very often part of this project as some sort of beta tester so I think that the particularity of this stuff this workflows and all these implementations allow also somehow everybody to kind of join and to find their own place, be it for translations, be it for giving feedback, and be it for maybe also trying to implement it in the institutions where you are living. So I think it could be also a nice place for experimenting and finding your own position in your professional fields, in your non-professional or semi-professional field, as maybe Silvio will say. And for me, it's also a very funny action of trying to sneak in or try to see what are the limits of a system. And in a way, somehow, i'm very happy because today was for me also and for us a very nice way to try to bring up these topics in the university and that was uh also uh yeah very welcome from from the department of time is media and christoph nabal who supports us since many years so i also thank the the opportunity to be here and be here with you to talk about that. And I don't know if there are other comments or questions. Yeah, I think maybe because of the time, we can close. But definitely, these are topics that we can continue talking about during the week. And Simon and Lucille are with us. And Silvia, we have your book, a lot of copies here. And Josef, you can pass by any time. Yeah, but thank you so much. It was really interesting to follow you. And maybe I will just make some association that came to mind from the projects of the students. I don't know how it's the actual result, but there was one project about finding something that you forgot you had in the pocket, but it's useful. And I have the feeling like we don't need to invent new tools but just look at what we have and yeah like with fresh eyes and this the project of Lucille brought me this very concretely because it's like nothing new like it's a language that we might know, but we never knew how to use in this way. And it's even like reducing the position of the designer, you know, when the editor can do it. So also these categorizations of professionalizing certain activity, they get melted in that moment when you see see you have a magic trick or something. Yeah. So I like this idea of discovering things that we already have. And thank you. I don't know if you have any comment, like final comment. OK. So thank you for staying until now and for being here. Thank you.