CC4R Library List: Difference between revisions
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==Publi Fluor, 2024 == | |||
Crickx Research group, Brussels: Surfaces Utiles | |||
== CUTE: Conditions d’Utilisations Typographiques Engageantes V.01, 2024== | |||
[http://genderfluid.space/ Bye Bye Binary] (Ludi Loiseau. Eugénie Bidaut, Mariel Nils, Clara Sambot, Camille Circlude, Enz@ Le Garrec, Laure Giletti, Pierre Huyghebaert). [[:File:Cute.pdf|Download PDF]] | |||
== | == Content/Form, A Peer-Reviewed Newspaper, 2024 == | ||
This newspaper was published in the context of transmediale, Berlin, February 2024 | |||
== | ==Technodisobedience, 2024== | ||
Brussels: Constant | |||
This | ==Ancho, 2024== | ||
Jara Rocha, Barcelona: Hamaca | |||
==Constant V, 2024== | |||
Catalogue 2019-2022, Brussels: Constant | |||
== Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence, 2024 == | |||
This is the opening paragraph of Gary Hall's forthcoming book (in 2024), submitted to Open Humanities Press's ''Media:Art:Write:Now'' series, edited by Joanna Zylinska, Coventry. | |||
From the colophon: | |||
<blockquote>Masked Media is not a human-authored work. The thinking within it has been generated by an heterogenous assemblage of humans and nonhumans, including AI. As such, even though this book appears under the proper name ‘Gary Hall’, it is not the intellectual property of a single human individual. Masked Media is published under a Collective Conditions for Re-Use licence to reflect this, despite CC4r being on its own account perhaps too provisional to be considered an actual licence (Constant 2023). But then a work authored significantly by nonhumans is not eligible for copyright protection in most legal systems anyway. | |||
</blockquote> | |||
==Cypher Sex, “How to Cypher Sex: A Manual for Collective Digital Self-Defense Guides,” 2023== | |||
Brussels: Constant. https://calibre.constantvzw.org/book/193 | |||
==CryptoAudit GmbH, Cyber Technology GmbH, 2023== | |||
Femke Snelting, Peter Westenberg, part of the series "I have been charmed in the most unlikely places editions, Zug. Basel:Institute Experimental Design and Media Cultures (IXDM)/Critical Media Lab, Atelier Mondial | |||
==Plants by Numbers, 2023== | |||
Jane Prophet, Helen Pritchard (ed). London, New York, Dublin: Bloomsbury Visual Arts | |||
==Trans*feminist Counter Cloud Action, 2023== | |||
Brussels: The Institute for Technology in the Public Interest | |||
==Potential Removal, 2023== | |||
Peter Westenberg and Femke Snelting, (Basel: TITiPI), https://titipi.org/pub/potentialremoval/. | |||
==Teaching to Transgress Toolbox, 2022== | |||
erg, Brussels, HDK-Valand Göteborg. https://ttttoolbox.net/ | |||
==SPLINT Cards, 2022== | |||
Constant, Version 1.1, Brussels, June 2022 | |||
==Port-Miou, terre d'extractions, 2022== | |||
Enquete sur les traces et les devenirs d'une carrière, Livia Cahn, Élise Debouny, Noémie Pons-Rotbardt. Brussels: Hors-Norme | |||
==Volumetric Regimes: Material Cultures of Quantified Presence, 2022== | |||
Possible Bodies ed., London: Open Humanities Press | |||
== Futurology of Cooperation 2022 == | |||
A Czapski and D Peeters, Ghent, Brussels: KASK & Conservatorium, the School of Arts and Howest. https://grimoire.futurology.be/ | |||
==Reclaiming Digital Infrastructures== | |||
Femke Snelting, Peter Westenberg (ed.). Part of Peter Westenberg's project at KASK, Ghent "Reclaiming the school" | |||
== Vernaculars Come to Matter: (Re)Orienting Language and Technology, 2021 == | |||
Cristina Cochior, Julie Boschat-Thorez, and Manetta Berends. Rotterdam: Everyday Technology Press | |||
== DiVersions V2, 2021== | |||
ed. Elodie Mugrefya and Femke Snelting. Rahel Aima et al., Brussels: Constant https://diversions.constantvzw.org/publication/diversions_v2.pdf+ | |||
== Noun to Verb, 2020 == | |||
Eva Weinmayr. Noun to Verb: an investigation into the micro-politics of publishing through artistic practice. Göteborg: Art Monitor, HDK-Valand, Göteborg Universität. https://cutt.ly/noun-to-verb | |||
Latest revision as of 11:05, 2 May 2024
Publi Fluor, 2024
Crickx Research group, Brussels: Surfaces Utiles
CUTE: Conditions d’Utilisations Typographiques Engageantes V.01, 2024
Bye Bye Binary (Ludi Loiseau. Eugénie Bidaut, Mariel Nils, Clara Sambot, Camille Circlude, Enz@ Le Garrec, Laure Giletti, Pierre Huyghebaert). Download PDF
Content/Form, A Peer-Reviewed Newspaper, 2024
This newspaper was published in the context of transmediale, Berlin, February 2024
Technodisobedience, 2024
Brussels: Constant
Ancho, 2024
Jara Rocha, Barcelona: Hamaca
Constant V, 2024
Catalogue 2019-2022, Brussels: Constant
Masked Media: What It Means to Be Human in the Age of Artificial Creative Intelligence, 2024
This is the opening paragraph of Gary Hall's forthcoming book (in 2024), submitted to Open Humanities Press's Media:Art:Write:Now series, edited by Joanna Zylinska, Coventry.
From the colophon:
Masked Media is not a human-authored work. The thinking within it has been generated by an heterogenous assemblage of humans and nonhumans, including AI. As such, even though this book appears under the proper name ‘Gary Hall’, it is not the intellectual property of a single human individual. Masked Media is published under a Collective Conditions for Re-Use licence to reflect this, despite CC4r being on its own account perhaps too provisional to be considered an actual licence (Constant 2023). But then a work authored significantly by nonhumans is not eligible for copyright protection in most legal systems anyway.
Cypher Sex, “How to Cypher Sex: A Manual for Collective Digital Self-Defense Guides,” 2023
Brussels: Constant. https://calibre.constantvzw.org/book/193
CryptoAudit GmbH, Cyber Technology GmbH, 2023
Femke Snelting, Peter Westenberg, part of the series "I have been charmed in the most unlikely places editions, Zug. Basel:Institute Experimental Design and Media Cultures (IXDM)/Critical Media Lab, Atelier Mondial
Plants by Numbers, 2023
Jane Prophet, Helen Pritchard (ed). London, New York, Dublin: Bloomsbury Visual Arts
Trans*feminist Counter Cloud Action, 2023
Brussels: The Institute for Technology in the Public Interest
Potential Removal, 2023
Peter Westenberg and Femke Snelting, (Basel: TITiPI), https://titipi.org/pub/potentialremoval/.
Teaching to Transgress Toolbox, 2022
erg, Brussels, HDK-Valand Göteborg. https://ttttoolbox.net/
SPLINT Cards, 2022
Constant, Version 1.1, Brussels, June 2022
Port-Miou, terre d'extractions, 2022
Enquete sur les traces et les devenirs d'une carrière, Livia Cahn, Élise Debouny, Noémie Pons-Rotbardt. Brussels: Hors-Norme
Volumetric Regimes: Material Cultures of Quantified Presence, 2022
Possible Bodies ed., London: Open Humanities Press
Futurology of Cooperation 2022
A Czapski and D Peeters, Ghent, Brussels: KASK & Conservatorium, the School of Arts and Howest. https://grimoire.futurology.be/
Reclaiming Digital Infrastructures
Femke Snelting, Peter Westenberg (ed.). Part of Peter Westenberg's project at KASK, Ghent "Reclaiming the school"
Vernaculars Come to Matter: (Re)Orienting Language and Technology, 2021
Cristina Cochior, Julie Boschat-Thorez, and Manetta Berends. Rotterdam: Everyday Technology Press
DiVersions V2, 2021
ed. Elodie Mugrefya and Femke Snelting. Rahel Aima et al., Brussels: Constant https://diversions.constantvzw.org/publication/diversions_v2.pdf+
Noun to Verb, 2020
Eva Weinmayr. Noun to Verb: an investigation into the micro-politics of publishing through artistic practice. Göteborg: Art Monitor, HDK-Valand, Göteborg Universität. https://cutt.ly/noun-to-verb
