Voorstel samenwerking Museum, begin van een tekst:
http://pad.constantvzw.org/public_pad/Diversions_proposal

An vertelt diversies 13/01: FS begon eerst vanuit versies vanuit software; persoonlijke versies, versies van hoe geschiedenis wordt geschreven. Kurieniemmi -- nieuwe versies met bestaand materiaal; nieuwe perspectieven op een biografie, nieuw werk. Museum context -- hier en nu vs. collectieve processen. De verschillende soorten materialen ... collecties, softwares, taal, her-vertellen, beelden collecties, gipsafgietsels. Beslissingsname, proces, procedure. Richting een moment, een mythe. Waar worden de beslissingen genomen, door wie. Contextueel, intiuitief.

Femke: 
* ook insititutionele geschiedenis is interessant: zien hoe kennis in een organisatie (collectief/publiek instituut) bewaard wordt of doorgegeven. Bv bij bezuinigingen in Museum, digitalisiseringsdepartement KBR die verdwijnt, Kunstenpunt merge -> versies van beslissingsname, mensen die met collecties werken verdwijnen, kennis gaat verloren over hoe met dat materiaal te werken
collecties draagt sporen van hoe kennis kan geëxternaliseerd worden, bv Otlet heeft eigen categorisering - sinds 1993 werkt Manfroid aan databank - stageaire heeft 'ok' gegeven voor elke doos die zij kan uitgommen tijdens bezoek aan archief (documenten rond proces zelf)
* Git & versioning: praktijk van 'milestones' en 'releases', tussenmomenten waar naartoe wordt gewerkt: waar stop je
-> verdikkingen van een proces die tot iets leiden maar niet afsluiten - 'no final cut' 
* LGM proposals: tool waarbij alle internet searches/acties bewaard worden -> documentatie vna proces & bronnen
cfr in-gimp: undo-history bewaren -> als handelingen vaak voorkomen, kan je recepten maken
'how deep is source': werk ontstaat niet uit niets / utopisch voorstel mbt coypright

Contact Museum:
Digital collections (4 à 5 personen)
*(Amelie Doune)
*Eva Coudyzer - Thesaurus
*http://www.amazon.com/Beauty-Singular-Plural-Francis-Smets/dp/9058562468?tag=duckduckgo-d-20
*http://journals.uic.edu/ojs/index.php/UC/article/download/6070/4621
*Els Angenon - verantwoordelijk voor Thesaurus (woordenschat), betrokken in Europse projecten
*Kris Vastenhout

Planning
15-19 November 2016 -> 14? is Monday // 15? is bank holiday15 september : aanvraag WBI
13 september: start productie & dossier
26 april: open call in nieuwsbrief / lijst deelnemers / uitnodigingen versturen / beschrijving concept klaar
Afspraken met partners:
    * Museum - 21/1, 22/1, 29/1, 3/2
    * Kunstenloket
    * software-matig

Documenteren:
Teksten lezen Kurenniemi
Git-project Julien LGRU 'Visual versioning'
Interview met OSP over git


LEESLIJST
OSP interview over GIT http://freeze.sh/_/2015/conversations/dvc
inGimp http://freeze.sh/_/2015/conversations/daaad
Kurieniemmi tekst 
Michel de Certeau: The Writing of history 
Adrian McKenzie: Github 
Aymeric Mansoux http://texts.bleu255.com/how-deep-is-your-source/


LGRU VISUAL VERSIONING
http://lgru.net/wp-content/uploads/coposition_program.pdf

In distributed and collaborative creative practices where design- and code development
happen in dialogue with each other, it makes sense to not only make source code but also
lay-out, images and typography available. In this context, the employment of source code
management tools such as GIT and SVN seems useful. Starting from various experiments already
underway we will try to take on a few of the issues with existing software of this type.
Versioning tools were never meant for visual objects, and we will need to explore whether we
can shift their textual focus. We're also interested in their particular mental models of
'source' and development (branch, fork), and how these translate to design. Last but not
least: What kind of work do these tools validate and what do they render invisible?
Presentations by Aymeric Mansoux, Lisa Haskel and Manufactura Independente.

CO-POSITION WORKSESSIONS

Index to notes and references: 
http://lgru.pad.constantvzw.org:8000/worksessions

Wednesday 14:30-18:30: Visual Versioning
Crickx archive: Visual versioning (Ana Carvalho + Eric Schrijver)
Version control is keeping track of different versions of a cultural artefact: a text, a
design, computer code. In a world of computer files we print out many versions of our
files, or we save them under different name. But also in our sketchbook, we can make the
same drawing twice, with different additions: to compare.
The exact nature of changes between different versions becomes more important when one
collaborates. If you are working together on the same project, you need to be able to keep
track of the changes of the others. You should be able to describe your changes and make
them clear to the collaborators. And to yourself.
Many contemporary collaborative projects take shape with computer software and computer
files. Revision control has long been available in many forms. For artistic production, an
interesting model is provided by the software used by open source software developers,
because they work together in volatile and changing configurations.
A system that has captivated the imagination of a number of artists and designers is a
distributed versioning system called Git. It has been built to stimulate 'forking', that is
to say, many independent copies of the same code. The redundant and decentralized
production process embodied by this software is closely related to the production of other
kinds of culture.
The downside to using a software like Git, or for that matter any software developed for
software developers, is that the existing tools do not really map to the kind of visual
materials used by artists and designers: they were, after all, designed for handling plain-
text computer code.
In our worksession we will examine the existing versioning practices of the participants
(whether analogue or digital). We will introduce two tools: a Visual Repository viewer, as
developed by OSP, and a plugin to version vector drawings in Inkscape, as proposed by
Manufactura Independente. We will subsequently imagine, in small groups, what kind of
digital tools could help us to better work and collaborate on our projects.


OSP-studio: Versioning Type (Ricardo Lafuente + Alex Leray)
Where and how does the VCS way of working fit inside the type designer's workflow?
--- 
The digital font design process implies manual work. Not only in drawing the characters,
but especially in setting and refining the attributes of a typeface. Tasks like character
spacing and kerning have seen some attempts at automation, but there is still a very much
manual and craft-like undertone to the practice of type design. There are still many
questions to be asked in how we could effectively have our computers ease and enlighten the
way how we design and create typefaces. 
A general type design workflow is hardly a fixed, uniform sequence of design decisions and
procedures. We can find common tasks and methods, but the way of working on an experimental
display typeface will be markedly different from a font practically designed to serve a
specific language subset. How can we differentiate between workflows, and what are they
like exactly? 
VCS are powerful tools, but are there more sensible ways to benefit from it than dumping
the whole project in a repository? Which VCS commands, procedures and operations might be
of particular benefit to a type designer? Better yet, how can our understanding of VCS-
based methodologies improve how we do type design? 
In this worksession, we will attempt to map the discrete parts of a type design workflow;
afterwards, we’ ll try to plot the points where new approaches based on VCS can be injected.
Reading room: The (new) New Typography - Javascript and CSS (Adam Hyde)
A session on using Javascript and CSS to design paper and electronic books. The session
will look at the latest free softwares libraries available, some new approaches to design
editors, and a special look at how this works with Booktype. Please bring a computer with
Firefox or Chrome installed and be ready to dabble. 

http://www.sourcefabric.org/en/booktype/
http://letteringjs.com/
http://kerningjs.com/
http://paperjs.org/
http://jejacks0n.github.com/mercury/


De vermelding van Kunstenpunt als partner komt voort uit het langzaam  gegroeide idee om een werksessie te organiseren waarin we met  kunstenaars én instellingen werken rond versies, varianten en  geschiedschrijving. Diversies zijn we gaan zien als een gelegenheid om  de ervaringen uit langlopende Constant-projecten zoals Publiek Domein  Dag (KBR, Nova), Active Archives en satelliet-projecten zoals Toneelstof  (VTi), cross-over (BAM), Scandinavian Institute for Computational  Vandalism en Mondotheek (Mundaneum, universiteitsbibliotheek Gent)  bijelkaar te brengen. We stellen ons voor die verschillende maar  verwante praktijken met elkaar te verbinden door samen te experimenteren  met en te reflecteren op de potentie van version-control systemen,  wiki's, etherpads en andere genetwerkte digitale gereedschappen. 

De inspirerende samenwerking met de mensen en organisaties die nu  onder de Kunstenpunt-vlag een nieuwe kijk op archiveren en/of  documenteren van de kunstenaarspraktijk gaan ontwikkelen, was aanleiding  om ons het kersverse Kunstenpunt in de plannen voor 2016 als gedroomde  partner voor te stellen. In het dossier hebben we die wens nogal  concreet geformuleerd door Kunstenpunt per ongeluk in de partnerlijst op  te nemen, zonder nog een samenwerking met hen te hebben afgesproken.  Verder stammen de plannen voor Diversies al uit 2014 en zijn we juist op  dit moment met veel plezier begonnen de sessie voor te bereiden. In het  ingediende dossier hebben we een oude beschrijving gebruikt, waarin de   inhoudelijke samenwerking tussen kunstenaars en instellingen  jammergenoeg niet wordt uitgelegd. 


10. Prototyping: Diversions
Prototyping workshop; 6 days
March 2016
Organised by: Constant
Hosted by: Royal Museum of art and history, Brussels
Participants: 50 (local and Europe)
The prototyping session Diversions starts from specific practices of sharing and collaboration that have emerged in Free, libre and Open Source Software development, and that subsequently inspired creative digital work. Free software relies on the access to source code at any time. As projects continue to develop, hundreds of individual files are being operated on by many different people. Version Control or Source Code Management systems help to manage such complicated collaborative processes by streamlining the publishing, comparing and archiving of code development.
This prototyping session explores the ethics and aesthetics of such iterative, reversible and promiscuous types of practice. We will work on the specific aspects of networked creation and the ability to use versions as a starting point for creative development.
Distributed version-control systems such as git, but also wikis, etherpad and other digital writing tools save versions, diffs and other log files. These meticulously archived workflows allow for any action to be undone or repeated. It permits large and geographically dispersed groups to work together, but also creates tensions and loyalty conflicts as projects can easily split off and atomize in so-called ?forks?. In this session we want to explore how a continuous publishing of differences can be a way to narrate, archive and write solidary practices.
Guests and participants:
*Christoph Fink (Brussels, Belgium) has been working on his Atlas of Movements for many years, exploring the borders of the human body and its interaction with its surroundings
*Simon Yuill (Glasgow, Scotland) is an artist, writer and programmer. His work includes the use of interview and research processes, film, publishing, and custom software systems. http://www.lipparosa.org
*Michael Murtaugh works on community databases, interactive documentaries, and tools for new forms of reading on-line (Brussels, Belgium) http://automatist.org
*Adrian Mackenzie (Lancaster, United Kingdom) leads the project Metacommunities of Code, a research in the development culture of FLOSS seen from the perspective of Github and sourceforge. http://metacommunitiesofcode.org 
*Annet Dekker (Amsterdam, The Netherlands) looks at the influence of technology on pop-culture and vice versa. http://aaaan.net
*Robert Ochshorn (New York, United States) is an artist who?s background includes media and journalism, electrical engineering, and activism. http://rmozone.com/ 
*Anne Laforet (Straatsburg, France) is researcher, teacher, critic and author of amongst others Le net art au musée. Stratégies de conservation des oeuvres en ligne http://www.technologicaldebris.info