label

workflows

Linked to 7 items

• from: Transcription Clusterduck (report)

  Silvia (00:14:53) - When we started it was similar to the situation in which we live now. It’s a situation where we are exposed to a lot of communication and a lot of content, a lot of images, a lot of text. workflowsWhen we started, publications, posting, and shit posting, were the things that we wanted to analyse. We somehow felt that we were receiving a lot and we were publishing nothing. The first thing that we wanted to do was a documentary that never saw the light of day. So, what I’m trying to say is that trying to absorb, curate or just understand all the information that we are exposed to is a very hard thing to do.

• from: Transcription Clusterduck (report)

  (00:17:30) - It was kind of a dream to have a saviour, a very intelligent being that somehow would come and save us from this mess and kind of organise this mess. But now we are realising that this happened already with Stable Diffusion and it is a lot messier… the results that Stable Diffusion brings back to us mean scraping and stealing our data. It’s like a six-year parabola because now we understand that maybe all the published things that we have already, and that we want to analyse, are not going to stop. workflowsWe have to find a way to absorb it without being destroyed by the amount of things. We need to think about the methods to save ourselves from this mess.

• from: Transcription Clusterduck (report)

  (00:24:19) - We all have different roles. And, of course, workflowswe try to combine our professional life and professional needs with the collective's, trying to apply for residencies, for example, to share as much time as possible, or visiting venues around Europe to connect and be physically together to avoid an excess of online communication. It does not always work because managing these kinds of balances can be quite tricky and difficult. But we try to focus on our well-being and the pleasantness of our experience. We try to not lose focus and to send our presence online through that, and we also have learned with time to keep some free spaces and some out-of-office time where we don’t respond or take in more work, as it can be quite challenging to have a whole round through the year of continuous work, both in our corporate employments and in our collective activity. reflectionThat's mainly it: trying to focus and keep track of your well-being and being present when possible.

• from: Transcription Clusterduck (report)

  (00:26:09) - Let’s say that when we wrote that interview, something changed, COVID happened, and after that, workflowswe realized that working 17 hours per day is not healthy. When you start and you love what you do, you don't realize that working so much can be bad for your health, and so now we changed throughout this process a lot, we understood what was best and fortunately, the work that we did brought us on.

• from: Transcription Clusterduck (report)

  (00:33:50) - Another thing I wanted to address is, since we are a transnational collective, something that we also noticed is [[How: Infrastructures of Publishing | the differences in what it means to have a sustainable work-life balance, for example, in Northern Europe, and in Southern Europe, which is very different. And it creates very strong imbalances in our collective and is something that is not addressed enough in the creative industries]]. Somehow this all goes under the label of “we are all Europeans”, we all have freedom of movement. We are all the same. This is not true, because someone who lives in Greece, Italy or Bulgaria will have other possibilities than someone who lives in Denmark or Germany. And I think this is quite obvious, so I don’t need to dig deeper into that. Regarding the work that Sylvia was introducing, as she already started explaining, it has a lot to do with empathy and emotions and how those things travel in digital media. So if we want to bring it back to the topic of publishing, when you publish something, when you publish content, you are expressing ideas, a story, but often we are also trying to convey emotions. And digital media has a very specific way of doing so. For example, the way that we are talking now gives us somehow the illusion that we are in a conversation that is comparable to an interaction in real life. But workflowsafter six years of working online — we started realizing this very strongly during the pandemic — something very fundamental was missing. And this was creating problems between us. That was the starting point for this work: reflecting on emotions and how emotions are conveyed on digital media.

• from: Transcription Clusterduck (report)

  (00:41:28) - Speaking of tools, it’s not easy at all to understand how to share our work in a very correct way. In the beginning, we were discussing everything on chats and for example, Aria who comes from a background in activism, was very good at teaching us how you can make horizontal decisions. workflowsNow we understand that even if we have many tools, decisions have to be made in a video call. Via emails is impossible to have a smooth dialogue and understand each other.We have a lot of suggestions now, if you want to start a collective, write to us at hello@clusterduck.space because we are starting to be really good at it!

• from: Transcription Silvio Lorusso (report)

  (00:05:49) - [[Why: Politics of Publishing | One mistake that is often made — I experienced it myself with other projects — is to reinvent the wheel, in imagining giant systems that would last forever.]] You can make a comparison with another archive that, from this point of view, was way more lean and in this sense, successful, which was the references"Library of the Printed Web", Paul Soullelis' work. You would buy the publication, since it was print-on-demand, take a couple of pictures and write just a little description. The archive was physical, and there were financial resources there, it was way easier to give a sense of coherence. workflowsAnother thing I would have done is connect it to a platform or a stable service, that exists beyond yourself. The perfect example would have been the referencesInternet Archive, and some archives are taking that strategy, for example, an Italian archive of radical publishing, which is called the referencesGrafton 9. The work is to upload it to a collection in the Internet Archive because you know that it will be safe, even if you don’t have the time or the resources to pay for the domain and so on.