Glad to be here in this enriched event -
we come to you as ooooo
and now that we are in a real-time tv-set
It is actually easier to introduce ooooo

As I am mostly the host – for ooooo, which is a constellation. Myself I create interface, devices and protocols to instigate our urban and institutional hardware. <> examples: music/noise instruments based on open schematics, expo’s, walks, code, radioshows, a lab (for q-o2 crystelling) … <>

I mostly engage in the administrative, cultural and political dimensions of personal and collective identities. I am in durational ‘ecologies’ with the Futurefarmers (artist collective) , Anarchaserver (feminist autonomous server), Rooftoptiger, …. 

Ooooo is also such a body, or even disembodied. we ask questions – not to streamline idea’s but to to enhance and feed the communality. So the question is what we have in common.

These aren’t discursive projects, it could - but it is mostly in practice we meet. I tend to use the word praxis. And within that praxis and intersubjective alliances we confront ourselves  to the commons and co-authorship and how we can redistribute into the public domain.  <> by disclosing documentation, be not exclusive, occupy commercial/state frequencies, do it with others build open hardware, make servers, be beta-testers…). ( in a biological process – (cellular, wet data, biomatter) - the language would sound much more poetic– ‘osmosis’/  <>
http://www.ooooo.be – 

ooooo are feminist / as we trigger emancipatory processes - cyber - digital/  as in body – machine/alogritme/code.. Because we are convinced we need to decolonize our technologies which are mainly developed or at least deployed by white, racist, heteronormative, privileged men. Nation . Bourgeoisie. Clerus. 

Here we are, in a  TV-set.
< hand out – pixels * >

Almost all nations have television, and since its early deployments - for the state it is/was as a powerful tool – to propagate ideologies (the insistence of 1 point of view) – to influence and make people believe. Off course. The state got privatized and more and more commercial channels appeared. They show what sells the best and as the state, 
they censor or control the mirror of representation.

DOCUMENT REPRESENT DOCUMENT REPRESENT

≃ diffraction
I refer Queer Nature of performativity – K. Barad
≃
intra-actions (not between within)

Anyway. Technology democratized – and ‘amateur’ equipment got available. We earned money and bought K7, camera’s, Recorders and we started to VJ and shifted from analogue to digital – processing and coding or using software – cracks, pirate copies to extended school licences – trying out freeware and experiment with open source software. We can make TV and for sure music but there were other urgencies than producing more images. (High frequencies)

And yet in the internet age – our ‘global technology’ developed peer-to peer protocols – so we can distribute – share. Transmit. We know the most popular entertainment channels, services –  video / music ( but I am not go to advertise them) Their principle eat as much you can – you don't own, you listen, you watch * and we know that there is no limitation on consumption. Currently  we shift layers in the OSI-model / Providers become channels . Technology is biased.But we can become a channel. To resist the walled gardens, we share networks / disks / servers (with vpns) (unluckily we sustain a meritocracy) (credential based) ‘Trust beyond security.’ And off course we have to build and maintain these autonomous infrastructures (servers with services) ourselves.

So as in TV- and gate keeping - I rather mention – an extensive archive video/sound/internet website > ooooo or bolwerK has a profile – call it a channel. You can choose licences or public domain. I mention archive.orgis like aforum because this arena tends to not exist any more in our democratic society, it used to exist between the public > private. Now it is private > private
sender is private 
receiver is private 
the signal is private

Today we are not broadcasting, not internet streaming, but recording.

The ultimate ‘technical’ act which lies behind any ‘case’ of infringements-related to copyright. I read in this  book recently written by Eric Schijver.  I recommend it to every one. He reminds me that we only start to talk about copyright only in the redistribution or sorry - reproduction. Exactly than the law apparatus is activated. 
< hand out – book * >
And why did I oppose 10 years – when vj’en so much to the remixes of these ‘copyright’ images as they where rooted in a western ‘romantic’ genius, authors submerged in white male supremacy. And yes we couldn’t identify. Cultural identity as one constituted by racist hegemonic practices and "images of barbarism, conquest, and servitude", dependent upon the distinction from alterity, or "the savage".  

Where are  / We, -  needed to create a a body, language multi-colored, diverse, intersectional - critical, transformative, creative, queer- as in anti-normative ; without accepting the legal premises of the property regime > neo-liberal trade regime which is self serving and imperialist. We need to redistribute our language, visions, ..  in the public domain, and licence to protect a critical stance in the current regime. To write down codes of conducts. Or Guides to kind communication – like gnu gpl licenses

When I opened for the fist time machines and started to understand about electricity – power in a technical sense. I realized that it has not a polarity it is not + or -… it ‘slows’ down the system - so in our collective resistance - there are so many alternatives – and different options and we have to encourage civil disobedience – collective.

-----------------------------
and if I start singing a commercial song .
We will have to declare the rights of this recoreded TV show/ (quotation – contectualisation)

It doesn't matter what you create
If you have no fun
Pretty girl, put down your pen
Come over here
we'll show you how it's done

wecan dance
we can drink
In the dark
It's all a trick

-----------------------------------
copyright the right way to support artists?

As artists it is our collective duty to maintain the integrity and authenticity of cultural expressions, and care for the right for ‘all’ people to participate in decision affecting the use of cultural heritage.

Intellectual property is a regulatory structure  in this 'information' society. It inhibits the right to 'access' and hence to participate in the creation, innovation and production of alternatives and widening the gap between ‘rich’ and ‘poor’. 

Freedom can’t be mere licence | liberties are not libertarian. Freedoms carries out responsibilities. Free speech -  is a constitutional right and intellectual property limits freedom of expression. Infringing international human rights: it is human nature to share and we need cultural diversity - : /biodiversity – indigenous : seeds, music, herbs, medicine, … 

ooooo with an within Futurefarmers works on the commons of seeds, the sea, air, frequencies.And commons is still acknowledging there is property – it articulates ‘a right of use’, without exclusivity, so in this statement I would go even more radical – public domain.

And not only the content – and semantics – but in our redistribution, re-transmission, we have to consider all our ‘creations’ ‘reproductions’using digital techologies exploit our ‘critical’ natural resources, and telecommunication, theelectromagnetic spectrum. If you look at radio history : sadly radio was a peer to peer technology . The US government – took 100 000 self home made radio transceivers often used for conversation, musicand gossip and started to regulate, monopolize, militarize and commercialize the spectrum. We, as in ooooo don’t need cultural disembodiement into the nation and market but in the signal.

Referring to 1976 ‘Declaracion de Bogota’ - a gathering of equatorial countries and indigenous people on their concern on geostationary sattelites: they wanted to be part of decision making and the policy. So many years later we realize it again who owns which rights – who is intellectual and the genius, creator, master ...

We need a disembodied multiplied voice and nourish the public domain, care for the signal commonize in the redistribution of our ideas – collective and not have mirrored self-expressions on the expense of the indigenous people> on who still can project they represent our biodiverse ‘intentional’ universe. 

A magical instead of technical reproduction., By is not anymore Buy ,To give credit, channel what we provide, we are going to ask you loyalties. And study , modify and implement together within the community.

> cuna
Michael Taussig (mimesis & alterity)

Cuna culture that Taussig mentions is the way in which the Cuna have adopted, in their traditional molas, images from western pop culture, including a distorted reflection of the Jack Daniel’s bottle, and also a popular iconic image from the early twentieth century, The Talking Dog, used in advertising gramophones. Taussig criticizes anthropology for reducing the Cuna culture to one in which the Cuna had simply come across the white colonists in the past, were impressed by their large ships and exotic technologies, and mistook them for Gods. For Taussig, this very reduction of the Other is suspect in itself, and through Mimesis and Alterity, he argues from both sides, demonstrating why exactly anthropologists have come to reduce the Cuna culture in this way, and the value of this perspective, at the same time as defending the independence of lived culture from Anthropological reductionism.




split sheet:
we try to fit it on a white paper- A4 and yes the US has different standards :)

Pink noise.
Lyrics - Song text ? Shelbatra Jashari gave a wokshop character building for planète concrète during Daemons and Shell Scripts.- a public performative interface where femke was also Make human bug report a critical analysis of parametric design of a software to create digital/virtual characters. So during the project HelloShelly, a character based on hello kitty, which is suicidal, offered us some techniques to become. 

divine, bright, playful >  cosmic shiva
        
lonely         pumping knight > vinkenhart
        
system,         collector, species > number 78
        
techno         tusko mogami > poubelle
flicker queer depression >la bête, 

Circular economy GROUND Yv0.3 said . executed in different formation s polly petrol, sonitus machinator, gender funky fuck
Producer ? Mastered by matthias mu
The album got our title track name, without consent, but as it just a physical phenomenon which appears. 

phenomenon:
Pink noise to equalize - energy in every octave. Maybe somebody of the audience can explain …. q- o2
Pink noise or noise is a signal or process with a frequency spectrum such that the power spectral density is inversely proportional to the frequency of the signal. In pink noise, each octave carries an equal amount of noise energy.  We perceive sound in terms of octaves – inside there is pitch/.
If a hight note jumps up an octave  - If a low note jumps down an octave 
Pink noise distributes energy in the way we hear (in octave bands)
the power per hertz in pink noise decreases as the frequency increases.
White noise - Energy in every frequency    We celebrate Radio panik – this saturday – across the door. Cinema Palace – 35 of independent radio/.