How to Scrabble-a-manual in action!

Scrabbling manuals in Copenhagen produce great ideas and a lot of fun for the participants!

Some of the manuals include:

A Manual on How to fall in and out of love again

A Manual on How to Live and Die

A Manual on How to Commit Suicide in 7 different ways

A Manual on How to Produce a Pair of Twins

A Manual on How to Make Identical Human Beings

A Manual on How to Swim Like a Dolphin

A Manual on How the equation of being a Woman doesn’t work

A Manual on How to Escape an Arrow if You Are a Space Rat

A Manual on How to Conquer the Object of Your Desire

A Manual on How to Make A Baby

A Manual on How to Make Lego Pirates Dismantle Themselves

A Manual on How to Make Dinosaur Eggs Hatch Earlier

A Manual on How to Maintain A Romantic Life

A Manual on How to Become a Human

A Manual on How to recognize a Christian

A Manual on How to do it like DDR

A project by Christina Christoforou, Orsalia Dimitriou and Mary Ikoniadou played for the first time in Copenhagen Symposium on June 2011

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A manual on How to Scrabble-a-manual

Scrabble-a-manual involves around new ways of producing knowledge. Academia evolves and revolves around a textual word. Different knowledge, on nature, on art works, on human behaviour is described and analysed by a text. We wanted to test a production of meaning based on a visual language and at the same time challenge what knowledge is. Can knowledge for example derive from an invented mythical device and the ways to construct it?

Scrabble-a-manual also reflects on the way academic texts are constructed, they are not tabula rasa but are acceptable once based on notions already proved by other academics. Plus the academic ‘speech’ has to form a logic sequence, which might be a traditional logic or something completely new and inventive, but the logic behind the sequence should always be justified.

Scrabble-a-manual is a collaborative action, both in its conception and in its realisation. The participants have to negotiate the ‘logic’ behind their manuals and can add or expand the manual of one of their fellow players.

The typical manual is a way to instruct someone to produce/assemble/montage/construct/do something that already exists. Furthermore the way it should be constructed/delivered/etc it is already known to the person who is writing the manual. Scrabble-a-manual on the contrary calls for open-ended manuals, where the final outcome is not known before and can be altered on the way. It is more dependable on the existing tools (cards/pictograms) than a final close-ended product.

Scrabble-a-manual aims at producing fantastic/impressive/impossible notions but the interest is mainly on the process (the manual, and the way the manual is constructed by playing).

Scrabble-a-manual draws inspiration by the ways an academic text is produced (using notions of others, logic sequence, open end) but it calls for larger collaborations, creativity and most importantly, amusement. Won’t we all learn more by playing?

Christina Christoforou, Orsalia Dimitriou, Mary Ikoniadou

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How to set up our own free university

Making a Copenhagen Free University Manual: How to set up our own free university.

The aim of this workshop is to compile a manual to be used to set up a Free University. The manual will be compiled starting from the experience of the Copenhagen Free University, the material available on its website, the knowledge the participants could have of CFU or other free universities.

With this workshop we’ll try to codify into a manual what of the Copenhagen Free University is available to us – the participants to the workshop. By doing this we will invert the usual procedure that goes from the one who knows how to do something, to the one who needs to learn how to do it: we don’t have (much) experience and knowledge of free universities, but we still try to compile a manual for us (and someone else) to be able to set up a free university.

Our challenge would be to hold together the universality of scope of a manual (a manual as something that everybody should be able to make use of) and our specificity, that is, the motivations and desires of us, the participants of the workshop. This manual will be conceived not just for general users but also for us: us who would like to set up a Free University, us who would like to open up the possibility of thinking about setting up such a university. In order for this “us” to come together, the workshop will not be imposed onto the whole group of the symposium’s participants, and it will be not conducted by someone, rather, it will be run collectively by everyone interested in participating.

Still, as an “instruction”, I would invite people who are interested in free schools and would like to participate in the workshop to bring some material to share (for instance, something that one could pick up from the CFU website).

The workshop could be structured in three moments:

1 Collective introduction / discussion: What is a manual? (the other symposium’s activities can be used to address this question)

2 Gathering and sharing knowledge about free universities (each participants will present an aspect related to CFU or another free university): what is a free university? how to set up a free university?

3 Processing the knowledge shared producing a set of instructions (indications) for a manual. The CFU website could be used to find a way for this translation of knowledge and non-knowledge into instructions to take place.

One of the questions we will deal with during this workshop is: what is a free university? How does it differ (how does the CFU differ) from the university as we know it: Copenhagen University, Goldsmiths, Freie Universitat (what is the meaning of this “Freie” here)? How would a “really free” university differ from both an increasingly privatized “public” university and a “free” university that functions as part of the neoliberal model of the Big Society?

In this workshop we will also have to address the gap between theory and practice, reading and making, that a manual strongly exposes: how to make use of this gap? The gap between experienced experience (CFU) / the manual / experience to be experienced (by us who are going to set up a free school). The challenge here would be to both codify an existent experience (who is not ours) by turning it into a set of practical indications (for us and someone else to be used), and to keep open the possibility for something else to take place, for a different experience to happen – even a disastrous one.

Manual by Paolo Plotegher, presented by Sidsel Nelund and Trine Friis Sørensen

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A manual for the unintentional composer.

Step 1. Expose yourself to a lifetime of music and incidental sound.
Step 2. Comply with a mediative state.
Step 3. Remove conscious thought using everyday actions such as showering, eating or bicycling.
Step 3. Take in your surroundings at the point of absolute self comfort and indulgence.
Step 4. Begin to vocalise the first tune that comes to your mind in anyway possible.
Step 5. Use your surrounding as accompanying elements.
Step 6. Confidently stay in this moment and there you have it.
Step 7. Memorize all these steps so they become one with you.
Step 8. Forget them consciously and store them in the subconscious.

An example of the steps enacted.
Stepping off your bike from your trip to the supermarket, you open the door to your building, taking out your keys and fumbling around for the one that fits the lock. Chimes from the clump of keys start a process in the musical part of your brain. The door opens with a click and closes with a slam, this musical synapse has been added to. Traversing the stairs adds a backbeat.
The clang of the keys, the crack and bang of the door stay with you in a dim but prominent roll (in the same way light partials burn into the back of your retina) as you start to recognize this pattern and stamp it out in each step up, the chorus from a minute ago returns in full, rummaging chimes, click, creak and the slam as you dismount the stairs to the landing at your doorway.
The music comes to you but not as a singular song but a mixture of many, then the humming begins, the tune you make has no resemblance to the sound in your head, you are oblivious to this, feeling you are on point with the tune in your head and the one on your jaw. As the droning subsides and is replaced by the lyrics of the song the flow from you brain to your mouth is joined, the unoriginal tune is lost and you have created your own masterwork by appropriation.

By Owen Armour

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How to Locate Yourself Without the Help of Your Smartphone

By Ya-Feng Mon

A

1) Tell someone a story about the place you are from

2) Ask the person how much they think the story would suit the place s/he is from

3) Tell the person whether/why you have thought the story has represented your culture

4) Tell yourself how you might have been wrong about the story’s representativeness of your

culture

 

B

1) Ask someone to tell you a story about the place s/he is from

2) Tell the person how much you think the story would suit the place you are from

3) Ask the person whether/why they have thought the story has represented his/her culture

4) Guess where s/he is from

5) Ask the person whether s/he agrees with your guess, and why

6) Ask the person whether s/he thinks s/he might have been wrong about his/her story’s

representativeness of his/her culture

 

C

1) Tell someone a story about an imaginary place where your best dreams have come true

2) Ask the person how much s/he thinks the story would suit the place s/he is from

3) Ask the person to guess where the place could be

4) Ask yourself whether you agree with his/her guess

D

1) Tell someone a story about an imaginary place where your worst nightmares have come true

2) Ask the person how much s/he thinks the story would suit the place s/he is from

3) Ask the person to guess where the place could be

4) Ask yourself whether you agree with his/her guess

E

1) Repeat any or all of A, B, C, D for as many times as you wish

2) Draw a map that includes all the places mentioned/described/guessed/discussed in your journey of storytelling

3) Use color, size, shape, or any other expressive elements on your map to indicate how/what you have felt/known about each place mentioned/described/guessed/discussed

4) Identify each place (re)presented on your map

 

F

Compare your map with other people’s

 

Rationale

There is something intriguing when Marc Auge, in theorizing ‘non-place’, accuses capitalism-driven supermodernity of wiping historical and local particularities off physically-inhabited places and replacing them with instructive or reductive mediated signs.  For, paradoxically, this ‘supermodern’ era of ours, however sign-oriented, appears also extremely obsessed with the knowledge of geographical differences and their resultant cultural identities.  The further information and image travel, the more we seem to learn about measuring the distance between ‘us’ and ‘them’, ‘me’ and ‘the other’.  This ability develops alongside the desire to grasp and account for the distance.  The desire is one that involves not only a hunger for power, where to know, to measure and to classify determine the potency to control and to define.  It entails as well the desperation to see, to confirm and to distinguish one’s own identity.

Maps reflect our knowledge of ‘places’ and indicate our understanding of identities.  As maps change, we see the restructuring of geographical knowledge coincide with the contestation of cultural identity, both in most cases informed by the results of new spatial exploration.

To be carried out in a setting where two thirds of the conference participants travel from foreign cities, the action proposed above is meant to engage a map-revising exploration at a personal level.  The introverted exploration, through triggering reflection upon one’s own geographical/cultural imagination, is potential to activate the production of surplus knowledge regarding places and identities.  Such production is only possible when the investment in exploration is collectively mobilized and exercised.  That is, to set off a journey to ‘renew’ what we know about where we think we belong and who we believe we are, we, risking being lost in a wandering journey, act as each other’s sailboats and offer our stories to be each other’s compass.

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Manual for the free-range inscriptions

By Tijana Stevanovic

The following proposal is a practical exercise in dislocating the agency place within academic structures. It starts from the format and setting of upcoming conference in Copenhagen, as a space of assembly of people who occupy unstable positions within the academic framework. Being in the same time teachers of the others, teachers of their own practice and students (learners) of it, the participants occupy in the same time different official (already defined) positions, which only once embodied in them, become destabilized by that mere possibility of multiple occupation. Thus, this exercise is not directed towards dismantling existing forms of knowledge production in academia and its modes of representation. Instead, it goes beyond the negativity in such existing discourse, and sets itself as a practice in questioning the formats of the group public action; as well as – the threshold of spatial representation and action, such as: language, presence, conversation.

In Horace’s Ars Poetica art’s role in the society is to: ‘docere et delectare’ – or use non-conventional means in teaching through entertainment of its aesthetic experience. Artist practice in the field of ‘Lecture Performance’, mainly emerging in the 1990s, plays with the humour’s relation to entertainment, as well as the notion of intersubjectivity in transmitting the message. Artist Goran Djordjevic in his lecture (1986) he has given as Walter Benjamin, on Piet Mondrian’s picutres produced 1963 – 1996 plays with the truth and lie, and originality of the art-piece; in that way – limits of art. Since in the space of academia, it is mainly the scientific knowledge that dominates the practice of art of teaching, what kind of spaces do the uncertain personal positioning within it opens? Is a lie usable as a tool, since it is possible only through a mutual understanding and codified message? How are humour and lying connected to the withdrawal of a firm statement and which space of knowledge do they open as such? This exercise would like to discuss the opening of these invisible dynamics further, by the awareness of the time format of the assembly itself.

The format of exercise is preliminary set as:

– First day’s assembly of participants in a 30 – 45 minutes session (depending on the number of interested people) where it would be discussed how is the multiple occupation of the students’ and teachers’ roles of participants dealt with regards to the demand of entertainment and addressing the anonymous subject of a learner or supervisor. The participants are presented with the task for next day and are free to suggest not mentioned ways of participation.

– In the following days the participants are asked to – through withdrawal from the public space, and by personal affiliation, enact the possible group conversations (of minimum two correspondents) accompanying freely any other activities (in and out) of the symposium. These discussions should preferably include the subject of participants’ academic practice (but should not be limited to). They should involve a lie, a fantasmagoric element or a misunderstanding that is set up within the space of the conversation, no matter everyone’s awareness of this task. The person aware of the present lie should think of  the possible format or develop a technique of documenting the space of it appearance.

– The last day – re-assembly of the first day’s group and exposure of the free range practice during previous day (and night) through free-developed formats. group discussion of the techniques and the outcome for the collective space of questioning the instruction, guidance and company in the mutual desire for knowledge.

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Manual On Our First Step To Immortality

By Victoria Volcova

Everyone must be learning and everything be the subject of knowledge and action.

N. F. Fedorov

Part 1

Theoretical part

1. Russian Orthodox Christian philosopher of the 19th century, precursor of transhumanism Nikolaj Fedorovich Fedorov.

He advocated radical life extension, physical immortality and even resurrection of the dead, using scientific methods.

Fedorov thought that death and afterdeath existence should become the subject of comprehensive scientific inquiry . Achieving immortality and revival is the greatest goal of science. And this knowledge must leave the laboratories and become the common property of all: He called this Mankind’s Common Cause.

2. Among Fedorov’s followers were:

Leo Tolstoy. He was impressed by the intensity of Fedorov’s religious faith, his ascetic life and legendary erudition. The novel “The Resurrection”.

Fedor Dostoyevsky intensively exchanged letters with Fedorov from 1876 up to Dostoyevsky’s death in 1881. His last novel “The Brothers Karamazov” is written indeed about resurrection and immortality.

– The father of cosmonautics and human space flight, K.E. Tsiolkovsky. Tsiolkovsky was certain that the future of human life will be in outer space, so he decided that we must study the cosmos to pave the way for future generations. Later, he proved mathematically the possibility of space flight and published over 500 works about space travel and related subjects.

Introduction to the Practical Part

My first practical action I was involved in on the way to immortality:

1. Performance

“The Himmelfahrt Radio Show”

Dec. 11,12 and 13 2009 at HAU 1, Berlin

http://www.kommando-himmelfahrt.com/?p=132 (in German language)

Brainstorming: gather ideas and decide about possible performance or other experience on your way to immortality.

Part 2

Practical Part

Current anti-aging strategies and means to extend lifespan:

1.

1.1.Calculate your Body Mass Index (BMI):

1.2.Decide to what category you belong:  

Category BMI range – kg/m2 BMI Prime Mass (weight) of a 1.8 metres (5 ft 11 in) person with this BMI
Severely underweight less than 16.0 less than 0.66 less than 53.5 kilograms (8.42 st; 118 lb)
Underweight from 16.0 to 18.5 from 0.66 to 0.73 between 53.5 and 59.9 kilograms (8.42 and 9.43 st; 118 and 132 lb)
Normal from 18.5 to 25 from 0.74 to 0.99 between 60 and 80.9 kilograms (9.4 and 12.74 st; 130 and 178 lb)
Overweight from 25 to 30 from 1.0 to 1.19 between 81 and 96.9 kilograms (12.8 and 15.26 st; 180 and 214 lb)
Obese Class I from 30 to 35 from 1.2 to 1.39 between 97 and 112.9 kilograms (15.3 and 17.78 st; 210 and 249 lb)
Obese Class II from 35 to 40 from 1.4 to 1.59 between 113 and 129.9 kilograms (17.8 and 20.46 st; 250 and 286 lb)
Obese Class III over 40 over 1.6 from 130 kilograms (20 st; 290 lb)

1.3.  If you belong to Severely underweight or Underweight category you should go now and eat something of your own choice.

1.4.  If you belong to Normal category go and have some refreshment.

1.5.  If you belong to Overweight category and more, there is one really basic method for save weight loss and that is: Consuming fewer calories than you use. Note this caloric restriction diets – they restrict calories intake, slow the aging processes.

(will be distributed)

a)      Okinawa diet

b)  Paleolithic diet

  1. 2.  Physical activity

2.1. These “anytime, anywhere” exercises will help you improve your balance. And you can do them as often as you like, as long as you have something sturdy nearby to hold onto if you become unsteady.

a) Walk heel-to-toe.

(instruction follows)

b) Practice standing up and sitting down without using your hands. (instruction follows)

c) Stand on one foot.  (instruction follows)

2.2. Strengthening the side muscles of your hips and thighs. (instruction follows)

2.3. Strengthening these muscles is important for good balance. Use ankle weights if you are ready. (instruction follows)

3. For stress and mood relief eat:

antioxidant supplements:

–    Vitamin C (fresh fruits and vegetables)

–    Vitamin E (vegetable oils),

–    Polyphenolic antioxidants: Tea, coffee, soy, fruit, olive oil, chocolate, cinnamon, oregano and red wine.

 

nootropics (memory enhancers):

–    cognitive enhancers,

–    intelligence enhancers

  1. 4.  Mental fitness

Do regular mental exercises such as mind-provoking games.

4.1. Do the following short Crossword Puzzle.

4.2. Do the following Jigsaw Puzzle.

4.3. Look through the following mnemonics:

Order of colours in the rainbow, or visual spectrum:
(Red, Orange, Yellow, Green, Blue, Indigo, Violet)
Richard Of York Gave Battle In Vain.

(+ some other mnemonics)

Share your favorite mnemonics.           

4.4. Look through the following Palindromes (a word or phrase which reads the same in both directions): racecar, eye, Madam, level, pop.

A Toyota! Race fast… safe car: a Toyota

(+ some other palindromes)

Brainstorming: Create now your own palindromes.

4.5. Look through the following spoonerisms (words or phrases in which letters or syllables get swapped):

go and shake a tower – go and take a shower,

flutter by – butterfly

(+ some other spoonerisms)

Do you have any favorite spoonerisms?

Think of it and share them with us.

4.6. Time management

You should be able to manage your time to cope not only with your routine daily things but also with your academic proceedings.

Use this online game to try your ability to do the task within the limited time brackets.

 

4.7. Critical thinking

Say what do you think about cloning, body part replacement and nanomedicine which are also important aspects of the transhuman theory?

5. Various hobbies

Think of your hobbies which also can slow the aging processes.

Share them with us!

6. Maintaining a positive attitude under all circumstances.

  • Think about something you didn’t regard as positive
  • Now say how could it be transformed into positive

7. Meditation.

Exercise:

Pink Bubble Meditation Technique

8. Visualization.

(instruction follows)

9. Transhuman art (from Wikipedia, The Free Encyclopedia)

Read what Transhuman Art is:

An art movement which focuses on the concept of transhumanity, a transitional stage in a perceived progression from human to transhuman to posthuman. First named in 1983 by Natasha Vita-More, Transhumanist Art claimed a role for artists as purveyors of futuristic aspiration and visionary thinking in an era of scientific and technological challenge[citation needed], questioning traditional roles of the artist, the era of modern art and conventional aesthetics. Instead its proponents advocate a future-oriented aesthetics, often reflecting transdisciplinary works in art, science and technology.

You are invited to my friend’s exhibition in Zürich! (invitations will be distributed)

Visit his website: www.thomasheinzer.ch (in German language)

He “died” 3 times – after falling from the ski-track in the mountains into the ravine where he broke two legs, 12 years later after the car crash where he lost an eye and a half of his face and after falling from 10 m onto the concrete plate. But today it doesn’t prevent him, the Swiss champion in alpine ski-racing and an extraordinary artist, from being a successful sportsman and trainer, from establishing the school for alpine skiing in Bolivia and from training himself for 2014 Winter Olympics.

His strong energetic personality is the reason why his paintings are living paintings as he emphasizes himself. And that’s why they have medical effect as a lot of people say it who saw the pictures.

After visiting his exhibition you are also welcome to buy some of his paintings.

10. Cryonics (from Greek kryos- meaning icy cold) is the low-temperature preservation of humans and animals who can no longer be sustained by contemporary medicine, with the hope that healing and resuscitation may be possible in the future. It is proposed that cryopreserved people might someday be recovered by using highly advanced future technology. As of 2010, only around 200 people have undergone the procedure since it was first proposed in 1962.

  • Many followers of Nikolai Fyodorovich Fyodorov see cryonics as an important step in the Common Cause project (reference: Fedorov seminar in Moscow, Russia on 25.11.2006).
  • Now after you invested so much time, money and care to your body and soul the latter are definitely worth being preserved for ever. To preserve all the valuable mount of cells you’ve keeped an eye on for such a long time take your time and sign a contract on cryonics preservation.

Watch some movies based on cryonics:

a)  The Woody Allen comedy Sleeper (1973)

b)  Wes Craven’s Chiller (1985)

c)  The James Cameron films Aliens (1986) and Avatar (2002)

d)  Forever Young (1992)

e)  Vanilla Sky (2002)

f)   Pandorum (2009)

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