Connecting Otherwise

Connecting Otherwise

Connecting Otherwise

Developing artistic/design research methodologies and workshop formats for regenerative digital practices

Connecting Otherwise is an artistic/design research project initiated by The Hmm and the research department of the Gerrit Rietveld Academy and the Sandberg Instituut, alongside a consortium of invited stakeholders from the creative industries and research institutions such as Small File Media Festival, Hackers & Designers and Stichting LINK. It focuses on the development of interdisciplinary workshop formats exploring regenerative aesthetics and the materiality of digital technologies through hands-on and collective research approaches.

Drawing on feminist and decolonial hacking principles and critical making, the project’s aim is to make tangible and reimagine digital materiality while resisting extractive tendencies. Promoting regenerative design principles, it addresses the environmental impact of digital technologies and resource depletion, emphasizing art and design’s role in tackling these challenges. We believe the intersectional character of such challenges requires collective and interdisciplinary approaches to design and art making, which are rarely fostered conceptually and practically within the creative industries and educational institutions.

The workshops build upon the expertise of the collaborating partners, who bring together art, design, technology, and education and have been instrumental in bridging art and science, supporting artists and designers in contributing to interdisciplinary research environments.

Via a series of interconnected workshops the project will engage art and design professionals, educators, and students in material-based research around the social and environmental impact of digital technologies. Participants will explore circuit-making through community craft traditions, embrace ‘slowness’ and ‘lowness’ as frugal and regenerative principles for digital design and art making, and use weaving as a framework for exploring interconnected digital and territorial relationships. The aim is to creatively and critically examine the challenges that (future) art and design practitioners in the creative industries face when building and participating in contemporary digital culture in ways that are both sustainable and equitable.

Table of Contents

Collecting and Connecting

Collecting

and

Connecting

quoteThis workgroup maps the often-invisible regenerative material and digital practices already embedded in existing cultural and creative networks. Through surveys and collaborative sessions, it surfaces latent forms of circularity as well as gaps and challenges. As a counterpoint to technocratic diagrams like the butterfly model, this counter-mapping centers lived knowledge, collective infrastructures, and emerging patterns of care, aiming to support transitions toward more cohesive, viable, and ecologically grounded creative practices.

questionThis workgroup furthermore examines how research methodologies from across the work packages can be shared with the consortium’s diverse communities and geographies. In traditional lab environments, documentation preserves experiments, ensures comparability, and leaves a research trace. But keeping a record is also a means to claim ownership over the results. This worgroup aims to question this notion of ownership over knowledge. An iteration of the open-source publishing tool Etherport will be integrated into the project to support collaborative documentation of workshop activities. Originally developed by Gijs de Heij and the Institute of Network Cultures (INC) within the SIA-RAAK-funded research project Going Hybrid!, Etherport is actively maintained and used by various research communities such as the Institute of Network Cultures and Amateur Cities. With the INC set to close in 2026, Etherport is seeking a new hosting organization.

Aligned with the themes of this application, the Connecting Otherwise consortium supports the collective maintenance of Etherport, and the diverse artist/design research communities it serves. In accordance with circular principles, this WP adopts Etherport as a case study in regenerative, commons-based digital infrastructure—prioritizing care and continuation over the creation of new tools. The aim is to develop Etherport with a stronger focus on sustainability and accessibility, and for long-term integration into art and design research. A workshop for GRA/SI students will support adoption and encourage broader use across partner institutions. Additionally, by using the tool to document this project across different partner institutions, we aim to encourage its broader use. With INC’s discontinuation it will be important for Etherport to establish a stable, distributed user base.

We plan to expand Etherport’s capabilities to specifically facilitate workshop documentation. This builds on H&D’s work for the Energy Storage research group (co-led by Dorine van Meel, WP 2), where they developed the LabJournal tool using similar technology.

The documentation tools will support the entire research process, enabling the development of a hybrid publication. Insights from the various WPs will directly inform the evolution of the publishing infrastructure — such as WP 3’s work on small file publishing will inform how images and media are compressed for lighter publication on Etherport.

Questions:

Testing Things

Testing

Testing

codefont

From a literary perspective, shitposting engages with text in its material dimension. It takes into account the materiality of language. As Goldsmith wrote about Mallarme’s poetry: “words are no longer primarily transparent content carriers; now their material quality must be considered as well”. Goldsmith, K. (2011) Uncreative Writing Columbia University Press. Keysmashing gives letters the same materiality that many modernist poets were experimenting with. It creates pieces of internet vernacular literature that are not meant to be read but to be weighed.

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Colophoning Together

Colophoning Together

questionbut how?

Expansive colophon(ing) & WEB-to-PRINT or WEB and PRINT

colophon > reflectionPUB's collective effort

Screenshot 2026-03-31 at 13.37.02.png

Resources

Hardware and Eco-Feminist Art. Hacking and Artistic Practices Towards Ethical Technology

Patrícia J. Reis / Stefanie Wuschitz

https://www.transcript-verlag.de/978-3-8376-7862-8/hardware-and-eco-feminist-art/?c=310000017

Complicit Chips reader

https://titipi.org/wiki/index.php/Complicit_Chips_Reader

https://titipi.org/wiki/index.php/Complicit_Chips

Computing within Limits

Marloes de Valk: A pluriverse of local worlds: a review of Computing within Limits related terminology and practices

https://computingwithinlimits.org/2021/papers/limits21-devalk.pdf

The commons: Infrastructures for troubling times*),

Lauren Berlant

After progress: Notes for an ecology of perhaps

Savransky

The Symbolic Order of Technological Progress

Dani Ploeger

SANJANA PAUL, Principles for Environmental Justice in Technology: Toward a Regenerative Future for Computing

https://computingwithinlimits.org/2025/papers/limits2025-paul-justice.pdf

Iness Ben Guirat, Jan Tobias Mühlberg, Resistance Technologies: Moving Beyond Alternative Designs https://computingwithinlimits.org/2025/papers/limits2025-benguirat-resistance.pdf

Computing, Complexity and Degrowth : Systemic Considerations for Digital De-escalation

https://computingwithinlimits.org/2024/papers/limits2024-girard-deescalation.pdf

A Transversal Network of Feminist Servers

https://atnofs.constantvzw.org/

Download pdf https://hypha.ro/files/ATNOFS-screen.pdf

Laura U. Marks and Radek Przedpełski, Bandwidth Imperialism and Small-File Media

https://post45.org/2021/04/bandwidth-imperialism-and-small-file-media/

Conference / workshop / online

https://computingwithinlimits.org/2026/

Climate Justice Code / Casco

Mbembe, Earthly Community
Damaged earth catalog

https://damaged.bleu255.com/

Commoning

Silvia Federici and Peter Linebaugh. 2019. Re-Enchanting the World: Feminism and the Politics of the Commons. PM Press, Oakland

Aymeric Manxous https://www.collectiefeigendom.nl/en/ownership/digital-collective-ownership

Femke Snelting, Eva Weinmeyr https://parsejournal.com/article/ecologies-of-dissemination-editorial/

https://parsejournal.com/article/reuse-cases/**

Femke Snelting, Eva Weinmeyr, Committing to decolonial feminist practices of reuse

https://hackersanddesigners.nl/prototypes-for-a-lighter-internet-with-tumo.html

networks

*Bitbanging

Bit banging is a term of art that describes a method of digital data transmission as using general-purpose input/output (GPIO) instead of computer hardware that is intended specifically for data communication.[1] Controlling software is responsible for satisfying protocol requirements including timing which can be challenging due to limited host system resources and competing demands on the software.

In contrast, dedicated communication hardware (e.g., UART, SPI, I²C) satisfies protocol requirements which tends to reduce the runtime load on the controlling system – software and its host processor. In particular, some communication hardware provides data buffering to lower the runtime load of the controlling system.

The bit banging method may allow a computer to support a protocol with limited or no hardware changes and therefore bit banging can be a lower cost option since changing software is typically less expensive than changing hardware.

Bit banging is commonly used in embedded systems

Collaborators WP1

None

WP1 Planning Pad

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::WP1:_Collecting_and_Connecting::Notes.md

Note: changes may not show up directly in the site

**Preliminary meeting: **

  • Date / time: 2 March, 15.00-16.30
  • Agenda:
    • General update project
      • Design + preliminary website
      • WP 2 is starting
    • Discuss WP1 overall planning
    • WP 1-specific updates
      • Make a plan of decision making for Etherport improvements
      • First session end of March (online) (date picker)
        • 18 March – Anja, Lilian (before 14:00), Gijs, Heerko, Mark, Dorine (12.30 - 15.30) – 6
        • 1 April – Anja, Lilian, Gijs, Heerko (not ideal)x, Mark , Alix (ideally after 12), Miquel, Gersande, Dorine (12.30-15.30), Michele – 10
        • 2 April – Anja, Lilian, Margarita (I have to see if I can switch my day home with Miray with Martijn), Gijs, Alix, Mark, Dorine, Michele – 8
        • 3 April – Anja, Margarita, Gijs, Alix, Mark – 5
        • 8 April – Anja (12.00-17.00), Lilian, Gijs, Heerko, Alix, Gersande, Michele – 7
        • **9 April – Anja (before 15.00), Lilian (before 14:00), Margarita (same as before, can check with Martijn about switching my day home with Miray), Gijs, Heerko, Alix, Miquel, Gersande (after 11:00), Dorine, Michele, Mark – 10 **
        • 10 April – Anja, Margarita, Gijs, Heerko, Alix, Miquel (till 15h), Dorine, Michele (till 15h) – 8
      • Survey / sharing it : https://cloud.thehmm.nl/apps/forms/s/8HAXHy2iw9n7dSK6dipAT3jH
      • Invitation book launch: How Material Comes to Matter : https://rietveldacademie.nl/en/page/36261/publication-launch-how-material-comes-to-matter
      • Sharing of open call: https://computingwithinlimits.org/2026/ (deadline 17 March)

**Internal work session #1: Documentation & publishing infrastructure **

  • Date / time: End of March (tbc) – 2.5 hrs
  • Participants: Gijs, Lilian, Heerko, Anja, Márk, Dorine, Margarita, Radek, Michele, (BB), (Sepp)
  • Agenda / questions to work on:
    • Etherport introduction, onboarding
    • Development documentation framework for Connecting Otherwise
      • Involves: Sharing of possible learning formats, and how documentation can be integral to a workshop situation
      • Where/how do the learning formats live on after the project is completed? **Detailed outline and notes here: **

https://etherport.org/w/rsr::Connecting_Otherwise::WP1:_Collecting_and_Connecting::Internal_Worksession_1:_Documentation_&_publishing_infrastructure.md

Internal Session #2: Commoning, exploring collective ownership **

  • Date / time: End of September (tbc) – 1.5 hrs
    • Mon 28 September
    • Wed 30 September
  • Participants: Sepp, Lilian, Gijs, (BB), Anja, Radek, Heerko
  • Agenda / questions to work on:
    • How can Etherport be organised in the future? What are interesting commoning strategies
    • Re-use of certain tools, built on things that are already developed.
    • How is Etherport going to shape in the future (structure for decision making)?

**Internal Session #3: Expansive colophoning ‘collective tool ecologies’ + preparing student workshop **

  • Date / time: Mid / end October (tbc) – 2.5 hrs
    • Mon 12 October
    • Wed 14 October
    • Wed 21 October
  • Participants: Gijs, Lilian, Anja, Márk, Heerko, Margarita, Radek, BB, (Dorine?), (Sepp?)
  • Agenda / questions to work on:
    • Colophoning, tracing and making visible collective tool ecologies, how they intersect, travel

**Student workshop(s) / Practicum Generale: **

  • Date / time: November (+/- 4 sessions on Wednesday mornings)
  • Participants: Students of GRA/SI (open sign up)
  • Hosts: BB, Heerko + contributions by Gijs + support by Lilian, Anja, Márk
  • Focus:
    • Colophoning / Web-to-print / Reusing knowledge and materials
    • Simultaneous publication sprint with Etherport (writing, editing, designing)

**November - December **

  • Planning of final event with WP leaders:
    • Participants: Lilian, Margarita, Dorine, Anja, Márk

Internal work session 1: Documentation & publishing infrastructure

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::WP1:_Collecting_and_Connecting::Notes.md

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Agenda

  • Date / time: 9th of April, 11.00-13.30
  • Participants: Gijs, Lilian, Heerko, Anja, Márk, Dorine, Margarita, Radek, Michèle, BB, Sepp, Gleb, Ismael
  • Questions to work on:
    • Etherport introduction, onboarding
    • Development documentation framework for Connecting Otherwise
      • Involves: Sharing of possible learning formats, and how documentation can be integral to a workshop situation
      • Where/how do the learning formats live on after the project is completed?

Please prepare:

  • read the pad
  • try your log ins (https://etherport.org/publications/) > you will receive them shortly
  • think about interesting documentation strategies

Schedule

11.00 Introduction, short updates Workpackages 2,3,4

11.15 Updates preliminary website & Etherport, introducting structure of the session

11.30 Introduction Etherport by Gijs + trying out Etherport together

12.30 Short break

12.45 Round: Ideas about structure and strategies of online and offline documentation / publication / usage of labels, tags, annotations

13.00 Proposal structure for website

13.10 Wishlist & Bugs / Hacks and Workarounds: collaborative decision making

Structure proposal preliminary website:

  • General content
    • Introduction text
    • Bibliography / Further reading (per WP or a merged one?)
    • Colophon
  • WP specific
    • Workgroup title + Introduction (Lilian, Dorine, Margarita, Anja rewriting funding texts)
    • Workshop scripts
    • Workshop outcomes
    • Reflections in different formats
    • Note pads
    • References / resources
    • …
  • Other possible structuring elements
    • chapters (WPs)
    • tags (relating content between articles + WPs)
    • annotations / reactions on the text / comments
    • footnotes / references
    • MO: materials (thought this could be nice since we are thinking about materiality)

Documentation workflow:

  • Before and during the workshop (by workshop facilitators) and during workshop (with participants)
    • Documentation strategies
      • To discuss:
        • Task/role division in documentation during workshop
        • Developing a structure that can accommodate documentation during workshops
        • How to activate and include participants in the documentation, how to make use of the pads during the workshops
      • Proposed cohesion of pad structure for a workshop (prepared by workshop facilitators in collab with WP leaders):
        • Workshop title
        • Date, time, duration
        • Location
        • Additional context: Season / weather conditions / state of the world
        • Names facilitators
        • Participants (could be filled during introduction round as an onboarding to etherpad/port + what is their interest in the topic)
        • Workshop description/announcement
          • Can include learning goals / what to expect and what participants get out of the workshop
        • Time table / workshop structure
          • Participants add through eg. writing prompts / ideation space / gathering of process
        • Manual / instructions / eg. code documentations / worksheets
        • Outcomes (pictures or scans of materials, situations, texts written, works produced… )
          • recording expectations of students, what they are leaving with.... (maybe there can be some openness to what comes out of the workshop)
        • Resources / links / further readings
        • Particpant quotes during the workshop
        • Closing reflections
  • After the workshop
    • Recorded conversations
      • group conversation (based on quotes, more dynamic)
      • interview-style (more structured)
      • …
    • Reflective articles
    • Postscripts
    • Annotations on the workshop script
    • Articles
    • (Visual) essays

To dos:

  • Before 9 April: Move existing WP Etherpads to etherport structure
  • Rewriting WP introductions (by WP leaders)
  • In the session of 9 April discuss the “in retrospect” section of the publication. Do participants have specific articles they are working on that can be part of the publication?

  • With Margarita and Dorine:

    • how to use etherport/pads during workshop and outside of the workshops
    • what is content wise interesting to add:
      • media and formats
    • documentation internal sessions vs workshops with participants
    • what functions of etherport would be useful for this publication? Planning poster / Alix

  • Moment to check in and give comments

  • Content ready for Alix by 1 April (delivered by Dorine)
  • 6 April Design ready for feedback
  • 7 April Moment to check in and give comments
  • Final design ready by April 10
  • Print in week of April 13
  • Poster done by April 20

Internal Session #2: Commoning, exploring collective ownership

None

Hacks and Workarounds

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::Hacks_and_Workarounds.md

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  • General editing recommendation, open everything in a new tab :-))
  • Regenerate the publication by refreshing the tab “Publication was generated.” (Hard refresh?Ctrl+Shift+R?)
  • Word spaces should not be included inside a label, insert a space before and after the [[label: | ]].
  • Footnote workaround: if using numbered footnotes, please add the footnote number again at the beginning of your reference text.
  • Footnote format:
    • Here’s a simple footnote,1 and here’s a longer one.2
    • Indent paragraphs to include them in the footnote.
    • { my code }
    • Add as many paragraphs as you like.
  • Not sure if its already possible, but can anyone make templates or do you have to have specific rights for it?

  1. This is the first footnote. ↩

  2. Here’s one with multiple paragraphs and code. ↩

Wishlist and Bugs

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::Hacks_and_Workarounds.md

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Bugs we ran into while working on the project

(feel free to add any bug you run into to this list)

  • I noticed when working on the structure of the site and pads, that i ran out of numbers in a specific number space, it’s quite tedious to go through all pads and change the numbers, maybe a secondary numbering system could be useful? like 20.1 20.2 …?

  • Would it be possible to add an edit view or button on the html page that brings you back quickly to the editing environment?

  • It would be also be great to have ‘Regenerate’ button inside a publication and inside a chapter. Yes.

  • is there a way to see the order of pads in the overview?

  • Alix: how to deal with links when we make a physical publication? how to translate images or videos to a phyaical publication?

Bug list ordered by Gijs:

Big missions

  • Give administrators of organisation ability to do user management (3 days)
    • Create, edit, delete or invite users
    • Open or close public registration
    • Password reset through mail for the users
    • Suggestion: (heerko) list the users of the organisation in the etherport backend?
  • Separate file manager access per organisation (3 days)
  • Rethink the pad-reference system, currently there are issues when pads have the same identifier (though there is no mechanism to warn the user about it), or the pad identifiers change. Solution could be to link to the more stable pad-id. Probably needs a more visual reference insertion method. But, not as relevant for etherport. (4 days ?)
  • Allow to generate a publication for export. The publication is generated, but rather than it being part of the system the browser downloads a zip-file with the HTML-, CSS-, Javascript and mediafiles of the website. Which allows to place the website on a different server (~2 days, started on a recipe for INC. Need to work on including the media files and setting the base domain.)
  • Backup / archive function: download .md and .etherpad format of pads in a publication at once (1 day)
  • Adjust the ep_comments plugin for annotations rather than inserting the syntax into the pads. (2 days)

Medium

  • Make the generation process more robust: failing on a pad should not crash the system. Perhaps report which pads broke with a link to them? (4 hours)
    • italics/bold etc in the meta data fields break the regeneration. (hour)
  • Show an error message when a pad has the same slug. (1 hour?)
  • Apply the breadcrumb navigation everywhere: currently pad renaming views don’t show breadcrumbs (2 hours)
  • Show status of publication at the top of each pad, with a (re-)generate button. As to give insight into which version has been generated and to make regeneration easier. (2 hours)
  • Community pad
  • Show pad listing left to the etherpad editor to allow jumping between pads.
  • Option to show a preview of the publocation in an iframe next to the pad when editing visual styles. Would work since CSS-changes do not require a regeneration.
  • Upgrade the django version. (?)
  • Clarify the place of the pads in the publiction through a view which lists the order of the pads. Much like a ‘spine’ in an epub. (2 hours)
  • Snippets allow to insert content in specific places throughout a publication: for example a header or footer. Think of set of a snippets that would make sense for publications. Document them. (2 - 4 hours)
  • Extend, and document options which can be set through the index pad. Move where these options are set? For example what is indexed. Which elements are used in a publication. (2 hours)
  • Install a default set of paged.js plugins https://github.com/pagedjs/pagedjs-experiments
  • italic/bold etc override the css style of headlines/captions etc
  • Generating thumbnails while generating the static site. (2 - 4 hours)
  • Work on manual / workshop script (4 hours)
  • Improve the GUI of Publication overview (4 hours)
    • Jump links to organisations
    • Make listing more compact?
    • Make a separation per organisation between its, a bit like tabs:
      • publication
      • Visual Styles
      • Content templates
      • users

Smaller tasks

  • Clarify relation between pads on front and back end. For example by adding an edit link on the front end, and a ‘show public page’ on the backend (latter might be more complex).
  • Add a message above public pads, indicating it’s public, but also it’s address. (1 hour)
  • Hide controls in the pad for people who are not logged in. (2 hours ?)
  • Install etherpad plugins which move the caret after the metadata (1 hour)

Solved issues:

  • Logins: Can organizations add users themselves? Yes, through the organisation page.

  • Different levels of publicness of pads (shareability of editable pad links) ✔

  • Differentiation (visually and structurally) of note pads (only visible online) and articles (visible online & pdf) ✔

  • TOC: possible to add more information (author names, small abstracts), now its only titles of articles ✔

  • 2nd level hierachy of menu (website), 1. chapter, 2. articles ✔

Earthbound Hardware

This workgroup builds upon eco-feminist principles and propositions for decolonial hardware, such as clay PCB microcontrollers and mud batteries. The material lens of clay and sand informs the exploration of alternative hardware practices, sourcing local materials to develop and speculate upon renewable, site-specific approaches to technology design.

We envision clay and sand—and their transformation into ceramic components and microchips used in

computers—not only as a basis for new aesthetics and imaginaries for future technologies, but also

as a medium whose natural degradation invites us to critically reflect on aspects of permanence and

planned obsolescence in technological design. The inherent fragility and disintegration of such materials

over time become part of the speculative framework: a way to explore hardware that decomposes, returns

to the earth, and resists the logic of disposability and extractive durability that defines most technological

production today.

This approach sparks discussions around fair-trade, ethical, and biodegradable hardware in the pursuit of

environmental justice. By integrating ancient, community-centered craft traditions into circuit-making

as an artistic practice, we challenge colonial legacies, interfere with market-driven imperatives, and open

pathways for imagining technological futures that are materially finite yet socially and ecologically attuned.

Question:

WP2 Planning Pad

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2_working_pad.md

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Notes meeting Ismael after workshop:

  • Ismael found a coffee tree that probably arrived to the country with the dutch. Related to the cousin of Van Gogh.
  • They are conducting research onthis coffee tree to understand ecological changes. They look at it as a witness for ecologcial/climate information.
  • They are also buying 8 hectars of land with 100 people to reclaim. Collective Forest project.
  • Qustion from Ismael: can the aurdino serve as an instrument?

Schedule Earthbound Hardware

Student Workshop Amsterdam: Earthbound Hardware

Please indicate your availability after the dates below. We need to find 2 dates that work for everyone!

  • Time and date in Nieuw West, Amsterdam:

  • 28 May 12:00 - 16:00: Dorine, sophieBenedettaSidselArthur

  • 29 May 13:00 - 17:00: Dorine, BenedettaSidselArthur heerko
  • 1 June 9:30 - 13:30: Dorine,Benedetta Arthurheerko
  • 2 June 9:30 - 13:30: Dorine, sophie Amalie BenedettaArthur
  • 3 June 13:00 - 17:00: Dorine, sophie Amalie Arthur heerko
  • 4 June 11:00 - 15:00: Dorine, sophie Amalie MarkArthur heerko
  • 5 June 9:30 - 13:30: Dorine, sophie Amalie Benedetta
  • 8 June 13-17: Dorine, (sophie if needed) Amalie BenedettaSidselMarkArthur heerko

Esra Sakir will guide the two workshops, and we will be hosted by Buurtwerkplaats Noorderhof. But all our experience and knowledge are welcome to make this work :) If you have additional ideas for the workshop, please write them here:

Benedetta - Tools that can be shared

  • Sieves x5 (40, 50, 60, 80M)

  • Spatulas x8

  • Wires x9

  • Scale x2

  • Old newspaper

  • Fire resistant gloves x2 pairs

Needed

  • Textile (oldbedsheets or preferably unbleached canvas cotton, could be bought and reused at school f.e.)

  • Buckets (32 liters or 10 liters) - Rietveld has new ones, but need to be paid for

  • Metal plyers to pick the hot PCB’s

To keep in mind for a circular and ecofeminist approach - The honorable harvest

  • Awareness regaridng the provance and complexities involved in materials (f.e. kaolin)

  • Choosing to prefer to work with regional and widely available resources and “honorably” harvesting (never taking material that is not needed)

  • Only taking what you need / using everything you take - no waste

  • Asking permission (through intention or ritual)

  • Using everything you take - no waste

  • Giving a gift in return - it can be care, gratitude, or stewardship.

  • Speaking words of thanks*

  • Share abundance and knowledge with your community

  • Getting information and researching the land: naming createas relationship, which becomes care

*Ideas for the conversation during the bonfire

  • Bring books to consult during the process and eventually to read passages from during the workshop

Books that could be part of the day:

  • Braiding Sweetgrass, Robin Wall Kimmerer

  • Making, Tim Ingold

  • https://valiz.nl/en/publications/slow-reader

  • Cyborg Manifesto/Making kin, Donna Haraway

  • Vibrant Matter, Jane Bennet

  • Slow Technology Reader, Carolyn F. Strauss

Activating the clay PCB’s / working with the clay/ other questions and suggestions

  • How to actively bring this to students
  • reflecting on the conflict materials through the activation / communicating the politics
  • poetic gestures
  • in addition to the clay PCB making a intrument that we can activate as well when receiving a signal
  • painting the clay

Workshop Jatiwangi: Earthbound Hardware

  • Time and date: May / June (4 hours)
  • Location: Jatiwangi
  • Participants: workshop given by Ismal with local participants

  • Workshop for local participants given by Ismal.

Internal work session 3: An eco-feminist and decolonial approach to hardware

  • Time and date Amsterdam: 20 April 14-16 CEST

  • Time and date Indonesia: 20 April 19-21 WIB

  • Location: Online with Stephanie Wuschitz

  • Participants: Heerko, Benedetta, Sophie, Amalie, Ismal, Mark, Anja, Dorine, Martijn + students/alumni

  • An online lecture and discussion around our critical framework, but also thinking together with Stefanie what could be an interesting experiment with the clay pcb

  • Take notes here:
  • https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2_Internal_Worksession_3:_Eco-feminist_and_decolonial_hardware.md

Internal work session 2: Unpacking the world of computer chips

  • Time and date: 30 March 11.00 - 13.00 CET (for Ismal 15.00 - 17.00)

  • Location: presentation by Martijn at the Sandberg Institute

  • Participants: Heerko, Benedetta, Sophie, Amalie, Ismal, Mark, Anja, Dorine

  • Read the notes from the session:

  • https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2:_Internal_Worksession_2:_Unpacking_computer_chips.md

Internal work session 1: Connecting otherwise

  • Time and date: Friday 6 March 10:00 am CET
  • Location: online
  • Participants: Stefanie, Heerko, Benedetta, Sophie, Amalie, Ismal, Mark, Anja, Dorine
  • Each participant presents their practice for roughly 15 minutes and gives insight into the link to our project.

  • Read the notes from the session:

  • https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2_Internal_Worksession_1:_Introductions.md

Internal work session 4: Speculative methodologies for earthbound hardware

  • Time and date: April (4 hours)
  • Location: t.b.c.
  • Participants: Heerko, Benedetta, Sophie, Amalie, Mark, Anja, Dorine + students/alumni

  • Workshop given by workshop specialists to the members of our work package.

  • Note: How to communicate this with Ismal?

Internal work session 5: Preparing the Earthbound Hardware Workshops

  • Time and date: April (2 hours)
  • Location: online
  • Participants: Heerko, Benedetta, Sophie, Amalie, Mark, Ismal, Anja, Dorine

  • An online meeting to prepare our student workshop.

Student Workshop Amsterdam: Earthbound Hardware

  • Time and date: May (4 hours)
  • Location: Gerrit Rietveld Academy
  • Participants: Heerko, Benedetta, Sophie, Amalie, Mark, Dorine and students

  • Workshop for students given by work package specialists.

Workshop Jatiwangi: Earthbound Hardware

  • Time and date: May (4 hours)
  • Location: Jatiwangi
  • Participants: workshop given by Ismal with local participants

  • Workshop for local participants given by Ismal.

Resources to share

HARDWARE AND ECO-FEMINIST ART Hacking and Artistic Practices Towards Ethical Technology

Patrícia J. Reis Stefanie Wuschitz

(download PDF for free)

https://www.transcript-verlag.de/978-3-8376-7862-8/hardware-and-eco-feminist-art/?c=310000017

Summary of the chip-making process: https://www.linkedin.com/posts/challakcr_from-sand-to-silicon-the-5-stage-journey-activity-7391771568693186560-Mf_x/

https://download.intel.com/newsroom/kits/chipmaking/pdfs/Sand-to-Silicon_32nm-Version.pdf

Decapping process: https://www.youtube.com/watch?v=mT1FStxAVz4

Cyborg Manifesto - Donna Haraway: http://pdf-objects.com/files/Meerdo-HarawayCyborgManifesto.pdf

Bio’s

Ismal Muntaha is a multidisciplinary artist who lives and works together with the collective Jatiwangi art Factory (JaF). In 2009, together with Sunday Screen, they initiated the Village Video Festival, an annual residency-based video festival in Jatiwangi. In 2017, he formed the Land Study Agency (BKP). A temporary institution that focuses on the study of land and all cultural landscapes contained in it, through various artistic projects. He recently completed a Master in Development Studies at Bandung Institute of Technology (ITB). Ismal has joined the master’s programme Planetary Poetics at the Sandberg Institute as a fellow.

Heerko van der Kooij is an interaction artist & designer living and working in Amsterdam, NL. His work ranges from hacking small electronic artobjects to webdevelopment to teaching.

Amalie ‘Sveske’ Ourø (DK, she/her)

Is a multidisciplinary artist based in the Netherlands

Her work, mostly performative and site-specific, can best be described as a form of art-anthropology. Through installations, performance and poetry, Sveske interacts with the audience through acts of play and subversion, inviting people to think critically about diverse societal urgencies through the lens of ecology. Sveske graduated from the Image and Language department at the Gerrit Rietveld Academie with honours from participating in the Art and Research program. Amalie has exhibited in The Netherlands and abroad at Hunt Kastner Gallery, (Prague), MeetFactory, (Prague), Hotel Maria Kapel (Hoorn), Ron Mandos Gallery (Amsterdam), De Tweede Kamer (Den Haag), The Long Now (San Francisco), Arti et Amicitiae (Amsterdam), HYB4 Gallery (Prague) and the Stedelijk Museum (Amsterdam).

Together with Sophie Dandanell, Sveske is one of the main organizers, stewards and founders of the art - and garden-project ‘The Garden Department’ as part of Ugent Ecology, Gerrit Rietveld Academie & Sandberg Instituut, Amsterdam.

Sophie Refsgaard

Sophie Dandanell (she/they) is an artist and educator based in the Netherlands. Their work explores ecological practices, material processes, and collective learning. She holds a bachelor from the Gerrit Rietveld Academie’s TXT department (2024) and is currently pursuing their master’s degree at the Dutch Art Institute (2026). At the moment, she is engaged with natural dyeing, soil, and garden-based research as ways to connect everyday encounters with shared knowledge.

She is currently affiliated with the Gerrit Rietveld Academie, where she co-organizes, together with Amalie Sveske Ourø, a para-educational platform called The Garden Department, which aims to integrate regenerative practices into art and design education. Moreover, she has presented performances and collaborative projects across the Netherlands, Denmark, Sweden, and Cyprus, including at Vleeshal, SPEL, Galleri 54, and Vrij Paleis. Her writing and interviews have been published in PAGES/LEAVES, An Ode to Walking, and she has contributed to conversations on regenerative arts education for institutions such as RISD (USA) and Fontys Academy of Arts (NL).

Benedetta Pompili (IT) is a social designer focusing on the design of compositions of clay bodies and glazes that function as eco-critical tools, following a circular and bioregional approach. At the core of the work lies an interest in process as a form of knowledge. This extends beyond objects into the design of shared workspaces intendend as environments that support exchange and collaboration, leading to the foundation of vuur collective (Amsterdam). She is mentor for the Ceramic Focus at Design Academy Eindhoven, as well as workshop specialist at ceramic workshop of Gerrit Rietveld Academie. She has been exhibiting at Museum Guggenheim Bilbao (ES), Design Signals (RO), Prinsenhof Museum Delft (NL), among others.

Martijn van Boven

Anja Groten (DE) is a designer and researcher based in Amsterdam. Anja’s work revolves around the cross-section of digital and physical media, design and art education and the involvement in different interdisciplinary collectives such as Hackers & Designers and the Feminist Search Tools. Since 2019 Anja heads the Design Master program of the Sandberg Instituut Amsterdam, Master of the Rietveld Academie. In 2022 Anja completed a PhD about the relationship of design and collectivity at PhDArts, Academy of Creative and Performing Arts, Leiden University.

Márk Redele is project coordinator at Sandberg Research where they contribute to the development and operation of postgraduate research activities in the academy. They studied architecture in their origin country, Hungary, and received a master’s degree from Studio for Immediate Spaces in 2016. Since then, they have been a practicing artist pursuing self-initiated and commission-based works with a strong emphasis on material discovery. In their practice materials become the protagonists of stories personal and public, factual and fictive. These stories interrogate the subversive potential of simple material qualities such as porosity, softness and fluidity as well as the possibility of kinship, love and reconciliation in vibrant matter, under repressive conditions.

Dorine van Meel is a Dutch artist based in Brussels whose work spans moving image installations, performances, and publications. Her practice addresses various socio-political questions, using poetic language to expose current power structures while also exploring modes of resistance. She has exhibited at international venues including the South London Gallery, KW Institute in Berlin, Nottingham Contemporary, Transmediale, the 10th Berlin Biennale, and Extra City. Her collective projects reflect a commitment to feminist and self-organised methodologies, and include The Southern Summer School (BAK, Utrecht), Gentle Dust (Jupiter Woods & Berlin Biennale), and In the Eye of the Storm (rile, Brussels). From 2023 to 2025, she directed Planetary Poetics*, a master’s program at the Sandberg Institute focused on the ecological crisis and the ways cultural practitioners can engage with, respond to, and intervene in it. She currently teaches at the Rietveld Academie in Amsterdam, where she is also researcher at Urgent Ecologies.

Internal Worksession 1: Introductions

You can edit this pad by visiting: [https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2_Internal_Worksession_1:_Introductions.md](https://etherport.org/w/rsr::Connecting_Otherwise::WP2:_Earthbound_Hardware::WP2_Internal_Worksession_1:_Introductions.md

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Internal work session 1: Connecting Otherwise Introductions

  • Time and date: Friday 6 March 10:00 am CET
  • Location: online
  • Participants: Stefanie, Heerko, Benedetta, Sophie, Amalie, Ismal, Mark, Anja, Dorine
  • Each participant presents their practice for roughly 15 minutes and gives insight into the link to our project.

  • Introductions

  • Benedetta:

  • social desihner, cermaics and textiles on the side of school, ceramics workshop
  • materials of truth finding mediums
  • witness geological change coming from past
  • highlght changes / impact on the land
  • ppolitical and economic relationshops they have
  • movements and staying in the land / witnesses
  • composition of material / addressing its impact
  • aspestos embedding into concrete
  • involving waste into the work
  • reconstructions of archeological findings, from the river the clay comes from
  • Fabers permanent collection: Romania, working with industrial waste, site specific locations
  • what was present in the composition of this waste
  • looking back tot he history of the material through its composition
  • material: learning through making
  • political aspects of materials / vuur collective
  • conductive ceramics & their geographies
  • all kinds of ceramic materials involved in technology
  • wants to get to know the processes involved in making them
  • sharing the impact they have
  • knowledge she brings to the group: ceramic medium, clay plast and glazes / granual work / attention to the history behind these materials
  • approach / not top down but bottom up / open source
  • How do you fnd the plolution in the materiAL
    • wasnt necessarily looking for it
    • landfill was toxified / couldnt use it / problem for the future, you cannot reuse it
    • inspired looking into the byproduct of reuse
    • not using it in toxic state / but should be safe
    • toxicity was a starting point to reach out to sciences
    • glaze making has a toxic history / led was used / lower melting point
    • toxicity is a daily notion in the workshop
  • Sophie
  • garden department: facilitating
  • texts, natural dyeing, EU project, climate neutral cities, governance models
  • interested in locality
  • arrange walks / faciliating
  • reading and working abotu soil
  • thinking about soil - publication
  • thinking about locality of spaces
  • transfer of knowledge, that you cannot necessarily see
  • how does knowledge pass through hardware
  • natural dyeing
  • working with kids / material processes / hands-on seeing / different processes
  • works with performance / vleeshal middelburg
  • clay / bark in petri dishes
  • doesnt know so much abotu digital hardware / new subject / no predescribed knowledge
  • does organizing work
  • gaining knowledge, what are the means of collective knowledge
  • process as important as output / how to collaborate together
  • CrAFT: EU project / collaborative governance models / different working groups from different place in EU
    • craft-cities.eu
    • garden departmetn through urgent ecologies
    • funded for maintenance hours / 1-2 gardening days depending on the season / collab with basic year
    • faciliating students in the garden
  • Amalie
    • gardenar, multi-disciplinary artist
    • performnace, site specific
    • art anthropoligy / what it means to be a human in this time in relation to sustainability / ecology as epicenter of her practice
    • also critical towards anthropoligy
    • hands-on /really engaging human and more than human
    • reflecting on society
    • working in own methodology / code of conduct / wants to work as sustainable as possible in her practice /
    • installation as performance, disassembling after giving back to environment
    • garde within an institution
    • merging academy thinking with seasonality and ecology workign with students and staff
    • part of living community managing this entity
    • 2022 gradauted from image and language
    • Green Green GRas project at Maria Kapel residency
      • 18 varieties of grasses / grass beds
      • relation between human and grasses
      • interdependant relation with grass /
      • square beds / dividng agricultural land since 2nd world war
      • interviews with local farmers / video of farmers hands talking about farming / grass landscapes
      • problematic way dutch agriculture in NL is handles is not sustainable anymore /depletion of the land / too much focus on life stock
      • urbanism and right to the city / performances / relating that to ecology / what happens in the city is a ongoing performance
        • related to hardware / ongoingness
      • collecting clay from the streets / concerned with contamination / keeping it very local / materials from the eye
        • can be decomposted after
      • new to feminist hardware / hands-on social person enjoys connecting to peoplke and using it as part of the research
      • wants to get hands-on / connecting to the land
    • interested in afterlife of projects, how to bring this more holsitic thinking to the students
  • Heerko
  • artist, technologist, educator HKU
  • part of H&D / creating egalitarian learning formats
  • H&D summer school
  • hacking, repurposing, misusing technologies
  • repurposing battery powered toys
  • mud battery with hackitects
  • sourcing local soil
  • using the bacteria in the soil to lighting up leds
  • creating different way of interacting with technology.
  • moments of collective learning, short, limited in time and people who can participate, how to store this knowledge?
  • reason to publish, making experimental publications
  • using and making open source tools to make public our practice
  • conductive books
  • creating a lot of different tools and continue developing them
  • workshop making musical instruments / solar cells / repurposed electronics / creating voltages
  • the hmm / platform for internet culture / short workshop around a data center tour in northern part of holland / large datacenter for big companies google, meta…
    • transistors, ccentral aprt of computers and electronics, in a phone a few billion of transistors
    • making of wands with 4 transistors and a led, act as an atenna that pics up electro magnetic fields from wifi, bluetooth, … with the wands these fields could be explored
    • long shutter photography wifi routers and their signals could be visibilised
  • what is interesting is that the clay pcb is something very functional but the arduino itself doesnt have a specific function. yet
  • connection to ismael’s project making instruments from clay / making an enormous concert, 11.000 people were participating
  • H&D did a noisy performance too / also at muziek gebouw with musicians

  • Ismal

  • live and practie interconnected
  • tana / clay > everything is related to tanah
  • area known for roof tile producer, there is a lot of clay in the region
  • since colonial. time shaped as industrial area
  • sugar production
  • new industry: nike puma
  • building relation to land / creating rutuals
  • there are no teraditions in industrial areas
  • creating new traditions relatinf to land / clay
  • creating industries / roof tile guitars / made from the same clay as rooftiles
  • the tile is part of their identiy /
  • roof tile workers have good muscles / body builders / body builder festival for roof tile workers
  • from commodity to identuty / creating proudness
  • soil / into different materialityes / terracotta / low firings / good for roof tiles
  • inviting artists and designers to jatiwangi
  • maybe clay can be good for skin
  • skin care from clay
  • stock market with terracota things
  • building relation with farming, supernatural farming, another ritual
    • imam praying in rice fields
  • for 20 years / doing many things
  • projecting into a collective imagination / every 3 years rooftile fesitval, throusands of people even police, army, living in same neighborgood, everyone comes to make own composition, practicing together and hten playing together
  • collective statement in midst of industrualization / reclaim they have a culutre / own imagination as collective / culural ralation to soil and lan d
  • collective forest: making a forest
  • tanah should have 3 dimension :materilaity, land (in midst of land grabbing), culture
  • summit in kassel / documenta / inviting policy makers
  • jatiwangi beside being industrual area its also a cultural area
  • how do you invvolve so many people? organizing them?
    • living in the rural area
    • now industrial expansion.
    • living together with neighbors
    • we are not working for community we ARE the community
    • socio ecological capital witin our familaies
    • at documenta also our mayor came, also a high school friend
    • its not about transfer of idea, but sharing the interest
    • one gangster group: changing image from criminality to creativity
    • reclaiming the culture
    • Find Rampak Genteng on youtube to experiene the sound

  • organization hierachy

    • ismael is the director
    • how do you organize?
    • ismael works as director because he needs this for official report
    • in relatity is more family based
    • in his house they are living with 50 people / organizing is organically
    • are there any rules? if someone likes designing we ask him to do design Mark

  • research coordinator

  • material library / material processes that underlies the GRA
  • prototype https://materials.sandberg.nl/
  • artist, how material are able to uncover different stories / narratives
  • attending to these materials through artistic making

Internal Worksession 2: Unpacking computer chips

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Internal work session 2: Unpacking the world of computer chips

  • Time and date: 30 March 11.00 - 13.00 CET (for Ismal 15.00 - 17.00)

  • Location: presentation by Martijn at the Sandberg Institute

  • Participants: Heerko, Benedetta, Sophie, Amalie, Ismal, Mark, Anja, Dorine

Talk by Martijn van Boven

NXP: manufacturer for semi conductors / computer chips / appraoched marttijn because they have an archive and didnt know what to do with it.

massive manufacturing in nijmegen,

first you had philips and then they sold the company and it became nxp

previous employers started collecting and preserving things

interesting that an abstract technology like computer chip, is made by peo0le, social aspects of that

we were going to visit the archive, unfortunately had to move

the previous building is now used for dutch army to do exercises for urban warfare

martijn brought some artefacts

technical drawings, books, machines, applications, (telefones, radios…) diverse archive

wafer: through litography, how computer chips are being edged

rudamentary process: you make a drawing, you make a mask (glass?) from the drawing

optical chemical process

its like a photogram

silicium bar

computer chips are made from sand, ‘purity’ of sand is important

refining high purity quartz / semi conductor chips, fiber optics / north carolina

mine is still active

martijn went to several mines in the world / norway, chile (lithium)

high precision always starts with very dirty process (environmentally, corruption)

water is needed to separate different materials from each other

the hyper hyigenic of our devices starts always with a dirty process

initially quite crude production circumstances, not refined, more like a factory

factory was not safe, air was not purified, people didnt clean themselves,

through the decades the processes became more and more precise

film in the archive “behaviour in the clean room”

silicion melts, then you put a cristal into amoulded silicion.. the silicium sticks to the crystal

it becomes round because of the atomic structure

surface of the waver needs to be as flat as possible, the silicium has the right atomic structure for that

sand needs to be as pure as possible, no metal

the crystal is also made from sand

silicium sausage cut with a diamond cutter

hand drawn technical drawings of computer chips / starting large (2 x 6meters)

today the drawings are computerized

now they are restoring and preserving the technical drawings

how come, how computers are made, is not taught in school? demysitfication is important

kilo girls / article ?

https://www.theatlantic.com/technology/archive/2013/10/computing-power-used-to-be-measured-in-kilo-girls/280633/

230.000 employers in NL around the time

huge influence on NL

“nette meisjes” very catholic region, (precision, and properness)

if you were from a lpower class, philips was paying for your education

if you didnt want to go to the army, you could go to work for philips

all manual labor was done by women

engineering vs manual labor distrimination

[ watching film: “how to behave in the clean room ]

Real Girls’ Work - August 7, 2024

By Lua Vollaard

https://superkilogirls.com/post/real-girls-work

https://superkilogirls.com/

https://stichtinglink.nl/the-archive

https://www.youtube.com/watch?v=BpORXX8fzi0

Ismael had a question on the use of ceramics in computers

Ceramics used in computation for electronics, as isolation materials

Karl Marx asked money from senior Philips to write Das Kapital and fund his writing time/travels

The letter in which he did this is documented as well as a subsequent mail to Engels in which he informs him that he received the money

Initially the silicium might have been sourced from the river Maas but it’s doubted by many because of the impurities

Internal Worksession 3: Eco-feminist and decolonial hardware

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Internal work session 3: An eco-feminist and decolonial approach to hardware

  • Time and date: 20 April 14.00 – 16.00

  • Online workshop with Stephanie Wuschitz

  • 14.00 - 15.00 An online lecture and discussion around eco-feminist and decolonial approaches to hardware.

  • 15.00 - 16.00 Internal work session with the Aethbound Hardware working group

  • BIO

  • Stefanie Wuschitz is an artist, activist and researcher investigating strategies to demystify and decolonise technology. She applies critical media practices like feminist hacking, open-source technology and peer production to create interactive installations and animations. She founded the feminist hacklab and art collective »Mz Baltazar’s Laboratory«, which she co-organised until 2023, and conducted several arts-based research projects as PI at Akademie der bildenden Künste Wien and Technische Universität Berlin. Together with Patrícia J. Reis she is the author of Hardware and Eco-Feminist Art Hacking and Artistic Practices Towards Ethical Technology, published by transcript Verlag. *

Internal Worksession 4: Speculative hardware methodologies

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Internal work session 4: Speculative methodologies for earthbound hardware

  • Time and date: April (4 hours)
  • Location: t.b.c.
  • Participants: Heerko, Benedetta, Sophie, Amalie, Mark, Anja, Dorine + students/alumni

  • Workshop given by workshop specialists to the members of our workgroup.

Internal Worksession 5: Workshop Prep

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Internal work session 5: Preparing the Earthbound Hardware Workshops

  • Time and date: April (2 hours)
  • Location: online
  • Participants: Heerko, Benedetta, Sophie, Amalie, Mark, Ismal, Anja, Dorine

  • An online meeting to prepare our student workshop.

  • Workshop timeline

  • **11.00 - 13.15 **

    • Gathering at the buurtwerkplaats and going into the area to source & document wild clay
  • 13.15 - 13.45
    • Lunch back at the buurtwerkplaats, Márk will make sure there is a simple lunch available for all participants
    • **introduction to the buurtwerkplaats by Claire **
  • 13.45 - 15.00
  • Each participants makes two objects out of clay: One clay PCB and one object that could function as an instrument / something that can be activated during a performance when we receive a signal from the clay pcb.
  • 7 June
  • firing the clay pcb’s in the electric oven
  • 8 June Workshop 2.13:00 - 17:00
  • During this workshop we will split the group in 2 and follow this timeline:

  • 13.00 - 14.30

    • Group 1: firing of the ceramic objects (instruments?) made during workshop 1 on a bonfire (with Esra, Sophie, Amalia and Benedetta).

    • Group 2: soldering etc with Heerko

    • 14.30 - 15.30
    • Group 1 and 2: Arduino workshop with Heerko

  • 15.30 - 17.00

    • Group 1: soldering etc with Heerko

    • Group 2: firing of the ceramic objects (instruments?) made during workshop 1 on a bonfire (with Esra, Sophie, Amalia and Benedetta)

  • Notes:

  • First phase of the workshop: gathering the wild clay
  • there are no quick tests can be done on location, the clay needs to be sent to the laboratory, like levels of toxicity
  • many things can be said about the physical properties though like plasticity
  • it gives a clue to on what temperature it should be fired but its an assumption
  • Niew West cleanest earth in amsterdam, hisotrically agricultural area as opposed to other areas of amsterdam, industry and war
  • reddish color of clay in the area, probably iron, Esra usuall adds 10% commercial clay
  • we collect the clay next to watery areas
  • we try to feel it to know if its suitable
  • We look around 50cm deep
  • Benedetta has recycled/circular sourced commercial clay. we can use this if we want to add that to the wild clay
  • we are mixing the clay with commercial clay to avoid cracking and to get higher the resistance of the clay to temperature
  • the clay changes from meter to meter of area we explore
  • we need sieves to take away stones etc.. and to homogenize the material
  • adding Kaolin or ball clay is also possible
  • what we still need:
    • parrot knives for workshop,
    • 10mm wooden slats to roll the clay to thickness
    • plaster board cut to pieces: GAMMA | Gyproc plafondplaat RK 200x60cm 9,5mm kopen? | Gipsplaten
    • buy cookie cutter
    • firewood one pack
    • make long sticks with paint at the end for registering locations of clay
  • we are doing a simple bonefire, it needs to be built well
  • Amalie has clay from another site in amsterdam, got through contact with the gemeente
  • documentation:
    • photography
    • sound recording
    • location marker sticks
    • clay scanned in flatbed scanner
  • the silver is put on the tiles before firing and fired together
  • conversation around the bonefire - everbody brings questions

Student Workshop Amsterdam

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Earthbound Hardware workshop recap

Day 1

Just before the beginning of the summer the Connecting Otherwise project team, more precisely the members of the Earthbound Hardware work package have gathered in the morning, together with a group of around 20 participants, at the Buurtwerkplaats Noorderhof, near the Sloterplas, to begin the first phase of a two day workshop that has been in the planning for the last many months. The occassion brought together students from the Rietveld Academy and Sandberg Instituut as well as low(and slow) tech electronics and digital technology enthousiasts, hacktivists, PhD candidates and artist researchers from the field. Esra Sakir visual artist with extensive knowledge of and a personal connection to the local clay conditions was invited to lead the programme, accompanied by the workpackage team: Heerko van der Kooij, Amalie ‘Sveske’ Ourø, Sophie Refsgaard, Benedetta Pompili, Dorine van Meel and Márk Redele.

Throughout the activity the group has explored notions around less extractive, more regenerative approaches to technology bringing attention to the material conditions and consequences of digital technologies while inviting the participants to co-create an iteration of the Clay PCB, an electronic circuit board built on clay base with recycled components, originally developed by Patrícia J. Reis & Stefanie Wuschitz of the Feminist Hacking research project.

The group began with an excursion to several water bodies, streams and channels near the Sloterplas lake, equipped with manual tools, shovels, diggers and buckets led by Esra to specific spots known to be rich with clayish earth. Some has carried sound recorders and cameras documenting the process contributing to a body of artifacts to be brought forward as replicable research methodologies and workshop formats for regenerative digital practices, the shared ambition between the work packages of the Connecting Otherwise research project.

While keeping in mind the principle of taking as little as needed, we gathered earth from holes dug deep below the water line each of which yielded varying qualities of clay that could only be guessed at that point by the consistency and porosity of the material. We were taught the ring test: make a snake and roll the dirt around a finger; if it stays compact without cracks, it may be promising clay. Time was taken to connect to the environment with senses heightened by silent exercises of observing and touching and words of appreciation were collectively uttered to acknowledge the resources lifted from the ground and to remind ourselves to the indigenous principles of The Honorable Harvest. The group headed back to first have lunch and to receive an introduction to the Buurtwerkplaats by our host Clair.

In the afternoon the clay was labelled by origin, portioned, diluted with water and processed with a large electric drill with a mixer head emulsifying the harvest into a homogenous slurry. By squeezing it through fine wire mesh, twigs, rocks and other larger residues were filtered leaving behind a smooth mixture of clay parts and sand. Ideally, as little sand as possible.

We spread the content of the buckets onto dry newspaper that covered the floor of the patio at this point. The expectation was that the porous texture of the paper would remove the undesired water content from the clay leaving us with the perfect sculptable consistency needed to shape the base of the circuit boards. This did happen eventually, alas, with the help of hairdryers and fans, inviting the ghost of institutional schedules and paid hours, speeding through the natural work of drying.

Once the spread out material reached the desired dryness, we all picked up a handful of clay and shaped it into a ball ready to be pressed into shape. Some of us simultaneously created uniform clay samples to categorize and archive the material qualities of the clay according to their respective source locations. Yet another group has created flute-like instruments that we planned to activate when we receive a signal from the clay PCB. It was brought to our attention by Benedetta that the clay we collected contains large amounts of sand that might be a problem during the firing process.

Before the workshop, a 3D-printed mold was created with an imprint of all the conductive features of the PCB. We used this tool as a cookie cutter to regulate our squished and flattened blobs of clay into a series of hexagons with dents on their surface, waiting to be filled with conductive material the next day.

The finished shapes were put to rest for the night, covered with sheets of newspaper and plastic.

Day 2

We met again after lunch and split into two groups, one of which took responsibility for creating a bonfire and lining it with heat resistant bricks borrowed from the Ceramic Department of the Rietveld Academie. There has been some internal debate on whether the bricks were necessary as in the initial experiment conducted by Feminist Hacking, a plain bonfire was used. The fire was meant to bring the clay pieces to a temperature of 700-800C yielding a low-fired body similar to bisque firing.

Simultaneously, another group has moved inside the cabin to apply paint made from recycled silver as a conductive substrate to the features pressed into the clay pieces with the hexagonal mould at the end of the previous workshop day. Dipping toothpicks and brushes into the small glass vial we covered our faces with masks protecting against fumes and clay powder. The entangled silvery channels were meant to provide the layout to which recycled electronic parts, processing units, switches, batteries might be attached to eventually turn the clay piece into a functioning microcomputer. Applying the silver glaze before firing proved to be a wrong decision as some of it had become nonconductive and had to be reapplied later.

At an uneventful moment, we sat around the fire and shared literature, text fragments relating to the ecosystems of material and labour practices surrounding digital infrastructures, material workplaces and resource extraction. One text arrived from our research partner in Jatiwangi Indonesia, Ismal who will run another iteration of the workshop in the community context of the Jatiwangi Art Factory. At the time of the workshop he was on a research excursion to the volcanic mountains of Majalengka and he sent us a question to consider during the day: how to include soil in the development of policy? He also offered a blessing to the group in shape of an ancient Sundanese text fragment:

*”If there was the past, there is the present. If there were no past, there would be no present. There is a stump. There is a stem. If there were no stump, there would be no stem. Because there is a tree stump, there is a fallen lord.” *

During the day the shapes were slowly fed into the flames, waiting on the outer edge for a while to acclimatize to the temperatures and then moving into the center of the pit. The fire was covered with a large metal lid to keep the temperature under control. The smell of burning birch wood provided the atmosphere for the patient standing-around, lifting and looking throughout the afternoon. Most pieces survived the firing without cracking which warranted a short celebration.

It turned out that the 3d printed PCB pattern was mirrored and so the group concluded that the final result will stand no chance of operating as the electric wiring wouldn’t correspond to the legs of the microchip, the Atmega328, installed in the center of the clay piece. The group brainstormed different options in response to the contingency, which we all recognized as a natural part of any creative making process: flip the microchip upside-down, remake the tiles in a ceramic studio, repeat the workshop.

After introductory workshops by Heerko on electronics, mesh networks and microcontrollers, the participants were busy around the hot air soldering stations, collecting recycled electronics from discarded equipment, using a multimeter to check for conductive materials. Part of the group decided to flip the microchip around and solder it down to the tile with its legs bent around its body. It was also decided that another date would be found for a re-run of the workshop.

At the end of the day we gathered to share experiences and collect the impressions and emotions that followed us during the two days while we connected with nature, material, ancestry, labour and digital technology.

Reading materials that were mentioned during the bonfire discussion:

Donna Haraway - Staying with the Trouble

Text from Ailton Krenak

Richard Sennett - The Craftsman

Tyson Yunkaporta - Sand Talk

Harriet Rose Morley - Waste Not, Want Not

Workshop 1 Amsterdam

Workshop timeline 4 June 11.00 - 15.00

  • 11.00 - 13.15

    • Gathering at the buurtwerkplaats, word of welcome by Dorine, short round of introduction for everyone involved and short introduction by Benedetta about the circular and ecofeminist approach to working with the clay
    • going into the area to source & document wild clay
    • Back at the buurtwerkplaats sieving and preparing the clay
  • 13.15 - 13.45
    • Lunch back at the buurtwerkplaats, Márk will make sure there is a simple lunch available for all participants
    • introduction to the buurtwerkplaats by Claire
  • 13.45 - 14.15
    • Making the tile with Esra with support from Benedetta as a base for the PCB
  • 14.15 - 15.00
    • Participants gather in 3 different groups and make a second object out of clay that can funtion as an instrument / something that can be activated via sound during a performance when we receive a signal from the clay pcb.

Team roles 4 June

  • Esra: Sourcing the wild clay, preparing it, making the tile with the whole group and working with one group to make the instrument

  • Benedetta: Overall support sourcing, preparing and working with the clay and working with one group to make the instrument. documentation around aspects of the wild clay (colour, content, plasticity)

  • Heerko: Prints and brings the stamp

  • Amalia: Working with the recycled clay to make the intrument, documenting this process

  • Sophie: Alternative forms of documentating the process (like tracing, writing, phtography)

  • Mark: Audio documentation, documentation via photography, organising the lunch

  • Dorine: Overall coordination

  • Claire: Introduction to Buurtwerkplaats during lunch

Material list for 4 June

  • Recycled studio clay to mix with the wild clay (4 kilo) (Benedetta)
  • sieves: x5 (40, 50, 60, 80M) (Benedetta)
  • tools like spatula’s x8 to work with the clay and wires x9 to cut it (Benedetta)
  • scale x2 (Benedetta)
  • Old newspaper (Benedetta)
  • Sticks from the woodworkshop (Mark)
  • Fire resistant gloves x2 pairs (Benedetta)
  • buckets (32 liters or 10 liters) (Mark)
  • textiles (Sophie)
  • gyproc for drying (Mark)
  • shape cutter (Mark)
  • alternative recycled clay (Amalie)

  • rollers (Esra, Benedetta, Amailie) Note from Benedetta to keep in mind for a circular and ecofeminist approach

  • The honorable harvest

  • Awareness regaridng the provance and complexities involved in materials (f.e. kaolin)
  • Choosing to prefer to work with regional and widely available resources and “honorably” harvesting (never taking material that is not needed)
  • Only taking what you need / using everything you take - no waste
  • Asking permission (through intention or ritual)
  • Using everything you take - no waste
  • Giving a gift in return - it can be care, gratitude, or stewardship.
  • Speaking words of thanks*
  • Share abundance and knowledge with your community
  • Getting information and researching the land: naming createas relationship, which becomes care

Workshop 2 Amsterdam

Schedule 8 June 13:00 - 17:00: TO BE DISCUSSED!!!

  • 13.00 - 14.00

    • Group 1: silver painting the tiles together with Heerko
    • Group 2: building the bonfire

  • 14.00 - 15.00

    • Group 1: Firing the ceramic objects on the fire (with Esra, Sophie, Amalia and Benedetta) and a conversation around the fire with regard to some of the questions relevant to our workshop, some reading & the question from Ismal
    • Group 2: Arduino workshop with Heerko Short break with snack

  • 15.20 - 17.00

    • Soldering with Heerko in groups
    • Firing the ceramic objects on the fire and another conversation around the fire with regard to some of the questions relevant to our workshop, some reading & the question from Ismal

Team roles 8 June

  • Esra: Building the bonfire and firing the clay with participants

  • Benedetta: Building the bonfire and firing the clay with participants, leading conversation around the fire?

  • Heerko: silverpainting, soldering and Arduino workshop

  • Amalia: Building the bonfire and firing the clay with participants, leading conversation around the fire?

  • Sophie: Alternative forms of documentating the process (like tracing, writing, phtography)

  • Mark: Audio documentation, documentation via photography

  • Dorine: Overall coordination & conversation around the fire in dialogue with Ismal

Material list for 8 June

  • some heat resistant bricks (Benedetta, transported by Mark) Is this still necessary?
  • firewood (how shall we deal with that? Stefanie suggested to collect very dry thin branches and twigs beforehand and bring them in large IKEA bags to the fire location, in order to make a short very hot fire, but the raining has already started of course! Ideas welcome : )
  • Metal plyers to pick the hot PCB’s (Mark?)
  • heat resistant gloves (Benedetta)
  • materials needed for the hardware: https://ec.hackersanddesigners.nl/connectingotherwisematerials Can this be double checked to see what is missing? it inclused the paint brushes for the silver, right Mark?
  • Snacks for the break (Dorine)

  • digital thermometer to measure the fire temperature? (maybe Benedetta?) Questions or fragments from relevant texts for our conversation & reading around the bonfire (please add!)

  • I’ve asked Ismal for a question to discuss around the fire, he will send one over that deals with the earth capacity to hold past, present and future at the same time

  • Bring books to consult during the process and eventually to read passages from during the workshop Books that could be part of the day:

  • Braiding Sweetgrass, Robin Wall Kimmerer

  • Making, Tim Ingold

  • https://valiz.nl/en/publications/slow-reader

  • Cyborg Manifesto/Making kin, Donna Haraway

  • Vibrant Matter, Jane Bennet

  • Slow Technology Reader, Carolyn F. Strauss

  • Dancing on our Turtle’s Back, Leanne Betasamosake Simpson

  • Ideas to Postpone the End of the World, Ailton Krenak

Documentation

Audio recording

Student Workshop Jatiwangi

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Workshop Jatiwangi: Earthbound Hardware

  • Time and date: May (4 hours)
  • Location: Jatiwangi
  • Participants: workshop given by Ismal with local participants

  • Workshop for local participants given by Ismal.

Pad name: WP3 working pad

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::WP3:_SMALL_FILE_PUBLISHING::Notes-1.md

Note: changes may not show up directly in the site

Connecting Otherwise

Work Package 3: Small File Publishing

01. Paquete Structure of Folders.jpg

In this workgroup we aim to shift the prevailing paradigm of technological advancement from “move fast, break things” and “always on, always available” towards approaching slowness (slow loading time, slow processing) and lowness (low energy, low tech, low bandwidth, low resolution, low fidelity) as generative and creative lenses through which to engage with digital technologies. We engage with the concept of “bandwidth imperialism,” a term coined by our collaborators from the Small File Media Festival, which questions ideals such as net neutrality and equal access to high-speed internet. On a global scale, these ideals are unattainable because they are based on a perspective of, and engagment with, digital access that is often relegated to the Global North. How can we make small files for environments with light infrastructure? In this workgroup we will work hands-on with small file tools and practices, explore the materiality of the small file, and engage with compression aesthetics and our own relationship to the ‘high resolution’ image.

  • planning (as outlined in the original project plan) for reference;
    • start in April 2026 with some desk research
      • April - June for desk research
      • October - December for desk research
    • outreach in May (to other collaborators)
    • September, October, November 2026 for the internal work sessions (but we can have them earlier)
    • workshop testing - November 2026 and February 2027
      • suggestion for test workshop with Nestor to be in February 2027 since November 2026 doesn’t work (RIJKS open)
    • contribution to final program in May and June 2027 —> this might be postponed to September 2027
    • outcome is 2 test workshops (with students and the public) and one workshop for the workshop program at the end

WP3 - Internal work sessions summary and date suggestions

In our internal work sessions we want to take an approach of doing / making as we think about the questions around the small file that we want to engage with.

  • Internal work session #1: small file tools and practices - May and June 2026
  • This work session will be led by Laura, Joni, and Radek, who will be sharing the tools and practices of the SFMF. This session extends from an interest in developing a curriculum around the small file and sharing tools that the SFMF has been developing. The big time difference between the Netherlands / Ireland and British Columbia makes it a bit tough to align with everyone and do a three-hour session together. I suggest that we split the sessions into smaller parts to make it a bit easier and Radek leads one of the workshops/sessions alone and then Laura and Joni do another one. My suggestion is the following:

  • Part 1: Presentation from Radek of the environmental impact of streaming and the research SFMF have done around this topic, as well as a more hands-on workshop on different methods and options for compression, and the choices that are made (i.e. learning about data moshing techniques and open source programs that can be used for making small files). Following this session I suggest that we then have two weeks to try out the different methods Radek showed, and document them, so we can discuss them together in Part 2. * **Tuesday May 26: 16-19h (Amsterdam time) ** *

  • Part 2: Joni from SFMF presenting small file web production methods * This session will start with us discussing our experiences with the different tools that we learned about in Part 1. This will be followed by a presentation from Joni and Laura about small file web production methods. * **Tuesday June 16: 16-19h (Amsterdam) **

  • Internal Session #2: the materialities of the small file - September 2026

  • This session will be about inspiring us to look at different ways to work with hardware in relation to small file media. How can we make small files for environments with light infrastructure? This can include thinking about working with old cameras and old phones, building our own hardware, or hacking certain tools together. For this session we will invite Nestor Sire to share his work and his artistic practice, as well as the computers that he builds. Extra note that Radek wants to ask the Frugal Media group from Cork to also join the session.
  • Date is to be confirmed during our session in June when we are together and can compare calendars.
  • **Internal Session #3: compression aesthetics and narratives - October 2026 **
  • The suggestion for this session is to look into compressional/compression aesthetics, and invite Marek and Judith from the Vrij Universiteit:
  • Marek Jancovic m.jancovic@vu.nl
  • Judith Keilbach <J.Keilbach@uu.
  • In this session we can think about how we can rethink our relationship to the image and the way we attribute ‘quality’ to something that is more high res. How can we make these kinds of aesthetics desirable for different kinds of publics? I also suggest that Juliette can be part of this session and lead a talk around the creation of narratives and aesthetic experimentation around the small file.
  • Extra note: there was a suggestion from Laura to invite Mehvish Rather.

In this section, please make a list of artists, researchers, writers, filmmakers, programmers, etc, who are working with the small file, challenging the aesthetics of compression, and creating their own tools to experiment with low-bandwidth image making. This is content that can go into the publication that we are developing.

  • Fiona McDonald: https://rhagallery.ie/events/exhibitions/fiona-mc-donald-inhale-exhale/; https://www.fionamcdonald.digital/
  • Computing Within Limits conference: https://computingwithinlimits.org/2026/
  • Conference on August 26+27: https://mediaenv.ehc-amsterdam.nl/

WP3 Meeting - 5 March 2026

Agenda
  1. Introduction of Juliette to everyone
  2. Brainstorm of research focuses
  3. Planning of work sessions
  4. Budget questions
**Meeting Notes **
1. Juliette introduction
  • Different roles in H&D, production, documentation, giving workshops
  • in individual practice works with video, live action role play and collaborates with people a lot
    • fictional lore, games, video documentation
    • in own audio visual practice inspired by working methods of H&D, self developed video player
    • radio, audio streams, reaction to crisis like covid, dealing with taking less space but also anonimity and telling stories in a cryptic way

  • https://jujulove.eu/ Radek introduction

  • teachning critical media trinity college dublin

  • have been involved with small file media for many years
  • experimemtnal media practice from pov of sustainability
  • workshops in dublin: how can we develop a more sustainable wokrflow
  • started a module in climate leadership so its important to have more fixed knowledge about climate impact of streaming

  • reference to Clint Sleeper’s work: https://www.clintsleeper.com/ Laura introduction

    • media scholar, media artist
    • streaming movies with tiny bit rate
    • moving image / communicating discretely (workshops in Tehran, Kashmir, etc.,)
    • story telling discretely / privacy /
    • small website / tiny online players by Joni Schinkel Brainstorm

  • synergy of practices

  • speculative world building / lore making

  • internal work sessions taking an approach of doing / making

  • how do we want to document and published what is being developed

  • printed publication and a website and they work with the same pads

  • hybrid publication: logic for dividing content between the two

  • documentation on how the small file media website was made

  • publishing broadly interpreted: dissemination, documentation, streaming

  • laura and radek taught online small file workshops that were 3 hours

  • joni could present web production methods that he developed, laura and radek could presernt small file methods they developed, we could go offline and hten try out some tools, and come back and return to discuss

  • Laura: trying different options of compression, could be other methods too, you could begin with choosing your camera, could be animation, small camera apps, coming to a point where we have media that could be compressed

  • Radek: start with small file media talk from environmental standpoint, 20 min presentation on different techniques, slide dek, showcaseing, then focus on compression aesthetics,

  • 2 hrs, method data moshing > geeky (you never knwo what you get) you need specific type of footage / high contrast / showing workflow / 2-3 open source programs

  • handbrake > compress to image into small file

  • end workshop: one more hardware (cameras) focussed? the other one more software / aesthetics focussed

  • 2 methods: small file movies / small file platforms

Most people would probably be interested in making high quality but small bitrate, appealing to places with lower infrastructure

2. Research focuses for the desk research period: April - May 2026
  • from our last meeting, some of the interests/directions might be:
    • developing a curriculum around the small file and sharing tools that the SFMF has been developing (Laura)
    • developing a handbook around the small file (Radek)
    • making technologies now to prepare for future collapse (Laura)
    • ways of working with old cameras and old phones; to convince students to use this
    • building our own hardware, or hacking certain tools together (Margarita)
    • different programs and tools that can be used for compression aesthetics; how to develop a complete workflow for these processes(Radek)
    • moving image communicating discretely (Laura)
  • based on this research we can organise our work sessions
  • decide which workshops at Rietveld/Sandberg we want to work with
    • editing workshop
    • media lab
    • Anja and Mark will do an open call for this
**3. Planning / brainstorming of work sessions: **
  • Internal work session #1: small file movies
    • maybe this could be with Laura, Joni, and Radek sharing the tools and practices of the SFMF?
      • we could all then go offline and experiment with some of the tools
  • Internal Session #2: hardware
    • this could be with Nestor Sire https://nestorsire.com/
    • making small files for environments with light infrastructure
    • hardware aspect
    • make our own camera/ recording device with old devices/ how things are powered
    • Radek wants to invite someone from Frugal Media (group in Cork)
      • https://www.instagram.com/frugalmediaresearchgroup/
  • Internal Session #3: compression aesthetics
    • perhaps we could invite Marek Yankovitch and Judith from the Vrij Universiteit > compressional aesthetics
    • compression aesthetics
    • how to make these desirable for different kind of publics
    • encryption, transmitting messages / stories / not so interested in aesthertic experimentation but more encryption part of small files / not thought about so much / can laura share some research / could there be an interview /text about this topic? presentation by laura on encryption / can we invite additional people? Mehvish Rather (Laura will reach out)
      • we can highlight related people / researchers / filmmakers in the publication
      • making a handbook / curriculum? how to document each work session?
      • small file media already working on curriculum / trying to find funding for
        • SFMF will have a meeting to discuss how to best document tools and publishing them in way that feels good to the ortganization
  • Open call for workshops and workshop specialists -> survey of what is there
**4. Budget questions: **
  • Payment schedule and invoice info
  • any open questions / concerns

WP3 Meeting - 13 Jan 2026

Margarita, Anja, Laura, Radek

**Agenda **
  • small introductions
    • Laura is in vancouver at Simon Fraser
      • doing research on the carbon footprint of online media
        • founded small file festival in 2020
        • much better known locally in Vancouver
        • got a Guggenheim fellowship to develop workshops around the world
          • the idea was to do the workshops to also teach these methods and to encourage people to disseminate them
    • Radek
      • based in Trinity College, teaches a contextual media course
      • currently doing a post-doctoral project on Quantum Policy, through the lens and point of view of values
      • students have been asking about a handbook, so that could be interesting
        • etherport as a tool to create the handbook
      • Radek has been thinking a lot about the workshops that we could develop together
  • **General thoughts / sharing: **
    • Anja: embrace the small file aesthetics, also in printed files
    • Laura: at SFMF they have been working on these topics for years but they have little funding for this
      • they want to develop a curriculum for this
      • they have tips on their website, that people do use a lot
      • Joni has created a web player and a website that is less than 1.44MB
        • if you play a small file on Vimeo, it actually turns it into a large file
      • Laura wants to share those tools and ways of working that Joni has developed
      • they are also working on the pixel squisher
    • The project is about continuation and sharing
      • disseminating all this knowledge
    • Radek: important to take it slow, and not create new ideas all the time to keep up
    • Anja: it’s really important to use the tools and work side by side through hands-on engagement
    • Laura: initiatives for green media making is always focused on production, and not on file size, or the size of files that are transmitted. This is where they really have something to share
      • the production of computers and hard drives is so ecologically intensive.
      • working with 1.44mb per minute
    • Mark: the editing workshop has an interest in thinking about smaller files
    • Radek: important to make people think about creating smaller files
    • Laura: the radical criterion is interesting for experimental filmmakers
    • Laura: a chapter of her book is on collapse; making technologies now to prepare for future collapse (this is more for the global north)
      • global south practice is learning to make-do with minimal technology, minimal infrastructures
        • these are two practices that we can look at
        • how do we learn from the global south and make these practices more systemitised
    • Laura wants to systematise some of their small file practices
      • ways of working with old cameras and old phones; to convince students to use this
      • Radek is interested in various ways you can use compression to get specific effects
        • thinking about different programs and tools that can be used for compression aesthetics
          • how to develop a complete workflow for these processes
          • want to develop sound design
      • Laura wants to systematise the new apps for making small files, need to experiment with this
    • Radek, things are sustainable part of the way, but then you end up using Adobe
      • looking at other companies that are more sustainable; open source, etc.
    • Laura: wants to spend some time looking at the small apps are out there already for filming small, editing small
    • Radek: Marek Yankovitch and Judith from the Vrij Universiteit > compressional aesthetics
  • **planning **
    • start in April 2026 with some desk research
    • outreach in May (to other collaborators)?
    • workshop testing - November 2026
    • contribution to final program in May and June 2027
  • **budget **
    • what is available and the in-kind contribution from small file media festival
      • €12,154 budgeted for small file costs
      • in kind contribution of €2400
      • so that means €9754 available from budget
    • Laura’s time will be an in-kind contribution
    • Radek will be paid for the work that he does
    • other small file freelancers will be paid from this budget
  • discuss how we each work
    • Laura:
      • in courses they teach students how to make small files
      • at festivals they teach students how to make small files through workshops
  • the outcomes of the project
    • “Each work package will result in 2–3 workshops, with a focus on hands-on and participant-empowering experiences designed for diverse educational and professional settings”
    • contribution towards documentation and research
  • set next meeting

Workshop Meeting _ 6 Jan 2026

  • Niels Albers coordinates all the workshops, responsible for the booking system, and organising the practicum generale, to teach hands-on workshop skills to students
    • interesting in materials, wood, welding, etc
    • Niels is like an interface between the workshops, education, and research
    • the people who are working in the workshops have a lot of knowledge, skills, and other things related to their art practices
    • there are 23 workshops
  • The idea is for each of the work packages to be connected to the workshops at Rietveld/Sandberg
    • the idea is that we co-develop the ideas and plans with the workshop specialists
    • the final result will be a small symposium and a series of workshops
  • Dorine
    • focused more on hardware and what they call “earthbound hardware”
    • looking at the ecological impact of hardware and these materials
    • looking at the mining industry in the DRC
  • there is tension in the workshops in terms of what people are being paid and the scale they are paid
    • the workshop specialists will be paid for the extra work for this project
  • Juliette from H&D will join our work package
  • For WP3 we could also look into publishing and PDFs, low resolution printing
    • chip making could also be a part of it
  • Niels suggests doing a general introduction to all the workshops, and then we can meet some more specific workshop people
    • film and editing studios could be a nice collaboration
    • media lab could also be interesting
    • Lars from the photography workshop could also be interesting
    • web-to-print and printing lab
    • Anastasia who works in the computer workshop and in the large print workshop, and into Unity and VR
    • X Lab
  • WP4: Ancestral connections
    • the way the sun is affecting digital physicality and the digital signal
    • space weather is important because we are relying on technology that is affected by the sun
    • using android phones to map the earth
    • the protective layer of our atmosphere and the impact on technologies
    • lenses, light, sensitivity to light
    • WeavingWorlds collective at NDSM
  • WP1:
    • more meta work package that connects all the workshops
    • doing some desk research and other research on the needs of people
    • using etherport as a reporting tool but also revisting the etherport web-to-print to see how to make it better
  • Action plan for the next steps
    • workshop tour on Tuesday the 12th

Collaborators WP2

Ismal Muntaha

Ismal Muntaha is a multidisciplinary artist who lives and works together with the collective Jatiwangi art Factory (JaF). In 2009, together with Sunday Screen, they initiated the Village Video Festival, an annual residency-based video festival in Jatiwangi. In 2017, he formed the Land Study Agency (BKP). A temporary institution that focuses on the study of land and all cultural landscapes contained in it, through various artistic projects. He recently completed a Master in Development Studies at Bandung Institute of Technology (ITB). Ismal has joined the master’s programme Planetary Poetics at the Sandberg Institute as a fellow.

Heerko van der Kooij

Heerko van der Kooij is an interaction artist & designer living and working in Amsterdam, NL. His work ranges from hacking small electronic artobjects to webdevelopment to teaching.

Amalie ‘Sveske’ Ourø

Amalie ‘Sveske’ Ourø (DK, she/her) is a multidisciplinary artist based in the Netherlands

Her work, mostly performative and site-specific, can best be described as a form of art-anthropology. Through installations, performance and poetry, Sveske interacts with the audience through acts of play and subversion, inviting people to think critically about diverse societal urgencies through the lens of ecology. Sveske graduated from the Image and Language department at the Gerrit Rietveld Academie with honours from participating in the Art and Research program. Amalie has exhibited in The Netherlands and abroad at Hunt Kastner Gallery, (Prague), MeetFactory, (Prague), Hotel Maria Kapel (Hoorn), Ron Mandos Gallery (Amsterdam), De Tweede Kamer (Den Haag), The Long Now (San Francisco), Arti et Amicitiae (Amsterdam), HYB4 Gallery (Prague) and the Stedelijk Museum (Amsterdam).

Together with Sophie Dandanell, Sveske is one of the main organizers, stewards and founders of the art - and garden-project ‘The Garden Department’ as part of Ugent Ecology, Gerrit Rietveld Academie & Sandberg Instituut, Amsterdam.

Sophie Dandanell

Sophie Dandanell (she/they) is an artist and educator based in the Netherlands. Their work explores ecological practices, material processes, and collective learning. She holds a bachelor from the Gerrit Rietveld Academie’s TXT department (2024) and is currently pursuing their master’s degree at the Dutch Art Institute (2026). At the moment, she is engaged with natural dyeing, soil, and garden-based research as ways to connect everyday encounters with shared knowledge.

She is currently affiliated with the Gerrit Rietveld Academie, where she co-organizes, together with Amalie Sveske Ourø, a para-educational platform called The Garden Department, which aims to integrate regenerative practices into art and design education. Moreover, she has presented performances and collaborative projects across the Netherlands, Denmark, Sweden, and Cyprus, including at Vleeshal, SPEL, Galleri 54, and Vrij Paleis. Her writing and interviews have been published in PAGES/LEAVES, An Ode to Walking, and she has contributed to conversations on regenerative arts education for institutions such as RISD (USA) and Fontys Academy of Arts (NL).

Benedetta Pompili

Dorine van Meel

Dorine van Meel is a Dutch artist based in Brussels whose work spans moving image installations, performances, and publications. Her practice addresses various socio-political questions, using poetic language to expose current power structures while also exploring modes of resistance. She has exhibited at international venues including the South London Gallery, KW Institute in Berlin, Nottingham Contemporary, Transmediale, the 10th Berlin Biennale, and Extra City. Her collective projects reflect a commitment to feminist and self-organised methodologies, and include The Southern Summer School (BAK, Utrecht), Gentle Dust (Jupiter Woods & Berlin Biennale), and In the Eye of the Storm (rile, Brussels). From 2023 to 2025, she directed Planetary Poetics*, a master’s program at the Sandberg Institute focused on the ecological crisis and the ways cultural practitioners can engage with, respond to, and intervene in it. She currently teaches at the Rietveld Academie in Amsterdam, where she is also researcher at Urgent Ecologies.

Anja Groten

Anja Groten (DE/NL) is a designer and researcher based in Amsterdam. Anja’s work revolves around the cross-section of digital and physical media, design and art education and the involvement in different interdisciplinary collectives such as Hackers & Designers and the Feminist Search Tools. Since 2019 Anja heads the Design Master program of the Sandberg Instituut Amsterdam, Master of the Rietveld Academie. In 2022 Anja completed a PhD about the relationship of design and collectivity at PhDArts, Academy of Creative and Performing Arts, Leiden University.

Márk Redele

Márk Redele is project coordinator at Sandberg Research where they contribute to the development and operation of postgraduate research activities in the academy. They studied architecture in their origin country, Hungary, and received a master’s degree from Studio for Immediate Spaces in 2016. Since then, they have been a practicing artist pursuing self-initiated and commission-based works with a strong emphasis on material discovery. In their practice materials become the protagonists of stories personal and public, factual and fictive. These stories interrogate the subversive potential of simple material qualities such as porosity, softness and fluidity as well as the possibility of kinship, love and reconciliation in vibrant matter, under repressive conditions.

Small File Publishing

This workgroup aims to shift the prevailing paradigm of technological advancement from “move fast, break things” and “always on, always available” towards approaching slowness (slow loading time, slow processing) and lowness (low energy, low tech, low bandwidth, low resolution, low fidelity) as generative and creative lenses through which to engage with digital technology. As such, this WP is carried by a concern about “bandwidth imperialism,” a term coined by our collaborators from the Small File Media Festival, and questions ideals such as net neutrality and equal access to high-speed internet. These ideals are globally unattainable because they are based on a first-world view of digital access. This view doesn’t match the reality of the use of digital technology in a large part of the world.

Question:

Pad name: WP3 internal session note pad

**Notes Pad - WP3_Internal Work Session 1 **

This is the pad for our first internal work session. This session will be split into two parts:

Part 1 with Radek and Laura: Tuesday May 26 from 16-19h (Amsterdam time)

Part 2 with Joni and Laura: **Tuesday June 16 from 16-19h (Amsterdam time) **

The sessions will take place online in Jitsi here: https://meet.greenhost.net/connecting-otherwise

Part 1 -

Presentation and workshop from Radek and Laura of the environmental impact of streaming and the research SFMF have done around this topic, as well as a more hands-on workshop on different methods and options for compression, and the choices that are made (i.e. learning about data moshing techniques and open source programs that can be used for making small files). Following this part we then have time to try out the different methods Radek showed, on our own time, and document them, so we can discuss them together in Part 2.

Notes and documentation from workshop / presentation

**Participants: **

Laura

Mark

JK

Juliette

Radek

Margarita

Introduction of Jan Kees

**Laura presentation / introduction on the different actors involved in the carbon emissions of streaming **

Reading recommendation from Laura:

Anne Pasek - Getting into fights with Data Centers : https://emmlab.info/Resources_page/Data%20Center%20Fights_digital.pdf

**Radek’s presentation and part: **

iPhone: 0.3mp Camera (on iOS, uses H.264)

Android: Low Camera—Low Resolution)

Laura’s summary:

            1. retain quality:

decrease ratio factor on Quality slider. At 51 (low end), get boxy pixels. 32 is optimal, no compression artifacts.

        change audio parameters: mono, reduce bitrate from 160 to 32, change codec to MP3, keep sample rate. Retains audio quality.

        like baking a cake 

        I did this and changed file from 59 MB to 3.9 MB with little quality loss

        2. artistic effects:

        decrease number of pixels

        a. decrease ratio factor to max. 51. Can be overused. Super blurry, boxy pixels, things that didn’t move are moving liquidly, looks melted

        b. dimensions: resolution limit: custom: 32x32. Metallic-looking abstraction

        c. filters:

sharpen: unsharp: very strong: variables. Makes image crisper but increases file size. No interesting results so far

Laura’s summary:

Crashes. May need to change security settings on Mac, hard if you don’t own the computer . Finicky
  1. top L icon, open video

video output: MPEG4 ASP (xvid 4). Configure: change number of frames (increase Gop size to max value, 500, to artificially increase # of keyframes). Can decrease number of B frames to 0. Can change quantizer. Press OK

filters: interlacing, colors, sharpness (increased for Mountain Soul Assemblages), ASCII view, rotate, artistic, etc. Not intrinsic compression artifacts but add-ons, heavy-handed, betrays compression aesthetics (modernist faithfulness to medium)

Save (top L second icon)

Next, open saved image and delete keyframes:

use arrows at bottom of window: go to next keyframe, delete (press A button, start marker, press B. button. Press red X button to delete ‘Video will be corrupted. Proceed?” Yes)) repeat. Think first you identify keyframes, then mark and delete them. Shortcut: hit up arrow to go to next keyframe

for this video not much happened

  1. Try with another codec: HEVC

Configure: Change Gop Size to max of 1000, decrease I-frame Threshold to 10. Tricks program into identifying more keyframe.

Save

delete keyframes as before, save.

Beautiful creeping textures. Video creates movement where there was none. File size reduced?

Future question for Radek:

**MARGARITA tool testing notes **

Handbrake

Part 2 -

Presentation and workshop from Laura and Joni on small file production methods.

Notes and documentation from workshop / presentation

Participants: Margarita, Joni, Laura, Alix, Juliette, Meis, Jan-Kees, Mark

https://smallfile.ca/tinydreams/

**Reflections on using tools from previous session. **

On the standard

   * The 1.44 MB/minute metric works for video because it has duration. What would the equivalent be for a webpage? Transfer size? Number of requests? Energy per visit? Carbon per page load? Do any of those feel right?
   * Is "small file" a technical definition or an ethical one? Can a site be technically small but philosophically bloated?
   * If a site is beautiful and costs 3MB to load, is that justified? What if it's ugly and costs 3MB? What if it's beautiful and costs 30KB?

On usefulness and application

   * The folk web tradition celebrates useless sites… one joke, one horse, one colour. The political accessibility argument says small file matters because it works under constrained conditions. Are those the same project?
   * Who are you making a small file site for? Does the answer change what "small" means?
   * Is optimising for constrained infrastructure an act of solidarity, or just good practice? Does the distinction matter?

On the web as a medium

   * View-source used to be how people learned to make websites. It assumed a culture of legibility and sharing. Do we want that back? What would it take?
   * A website that works offline, on a USB drive, over a mesh network, or after the host goes under is more durable than one that depends on a platform. Is durability an aesthetic value as well as a practical one?
   * What does it mean that the most "progressive" web development practices (heavy frameworks, server-side rendering, build pipelines) produce the least accessible and least durable output?

On aesthetics and politics

   * The folk web looks like the early internet. Is that nostalgia, or is it the most honest visual language for this kind of work?
   * Dithered images, system fonts, visible compression… these aesthetics emerged from constraints. When you choose them intentionally, is that something different?
   * Low Tech Magazine goes offline when the sun doesn't shine. That unavailability is designed in. What else could be designed to make its constraints visible rather than hiding them?

Open-eneded questions

   * What would you make if file size was the only constraint?
   * What's the smallest thing that could still be a website?

Small File Media Workshop

*interesting-practice*Small-file Media Screening at Rory Gallagher Theatre, MTU Bishopstown Campus, Cork, 24th March 2026. A Review

Radek Przedpełski

moodAmazing day trip to Cork with Claire Nidecker and a group of NCAD students/interesting-practicesmall-filemedia makers. The trip culminated in a screening of interesting-practicesmall-filemovies beautifully curated by Material Gestures (Collette Nolan and Colette Lewis) at MTU Crawford College of Art and Design, Cork. The films brough together works of art students from National College of Art & Design, Dublin and MTU. It was a special moment and a culmination of the year-long dialogue between Cork-based Material Gestures and Dublin-based Frugal Media Research Group (Chloe Brennan, Claire Nidecker, Cliona Harmey and Sarah Durcan). Many thanks to MTU Arts Office for hosting the screening in the rockin’ Rory Gallagher Theatre, MTU Bishopstown Campus!

Our conversation started last year during the FRUGAL MEDIA symposium at NCAD, followed by my small-file media talks and workshops at NCAD and MTU. The student projects then germinated with the kind support of Material Gestures and FRUGAL MEDIA. What an absolute delight it was to see a community of makers come into being!

—————This programme will be going places!]]

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Collaborators WP3

None

Ancestral Connections

This workgroup aims to investigate the colonial implications embedded in network technologies through the materiality of fiber and the practice of weaving. Grounded in the histories and material traditions of the Kalinago Territory and the broader Caribbean, the research examines how indigenous weaving practices, basketry, and fiber arts can inform more regenerative, non-extractive approaches to technological infrastructures. Engaging with textile structure offers a tangible entry point into the often intangible realities of digital infrastructure. Through cross-disciplinary artistic methods, it seeks to uncover new ways of conceptualizing networks, circularity, and resilience, using bio-based materials and ancestral techniques to imagine ecological alternatives to current digital and material systems.

Questions:

WP4 Planning Pad

You can edit this pad by visiting: https://etherport.org/w/rsr::Connecting_Otherwise::WP4:_Ancesteral_Connections::WP4_working_pad.md

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Collaborators

This should show up.

Indeed, I had the same question as Mark: Could we edit or design how labels are displayed when all together?

*BB

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quoteBB label

Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry’s standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a interesting-practicetype specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was questionpopularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum

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