----------empyre- soft-skinned space----------------------
I was just about to place a last response, and suddenly realized Lynne's
generative message below may not have gone out to the listserve. Perhaps
as a last note, it would be wonderful to engage with Lynne's words here.
"in a way, robot poetics may
now be in our nature, so that all of us are inadvertantly engaged in it
at all times, some more consciously than others."
Perhaps this speaks to the cybernectics of empyre, and our continuing
dialogue on robot poetics.
https://www.youtube.com/watch?v=AjI2J2SQ528
warmly,
Margaret
-------- Original Message --------
Subject: Re: Introducing Lynne DeSilva-Johnson!
Date: 2017-05-30 15:46
From: the operating system <thisistheoperatingsys...@gmail.com>
To: Margaret J Rhee <mr...@uoregon.edu>
Glad for this further engagement, and honored to be held in Cyborg ears
at Wiscon! Somehow knew many folks there this year.
I want to rejoin your comments here, but also re-engage with some of the
questions that started off the month, just to bring things full circle
-- because I think they help me weave the ontological threads I'm going
for:
"_What is a poem? Is it a thought, or a dream? / __Our bodies, maybe?_
_Now, what is a machine?"_
I start here because I want to speak to the organism-as-machine, the
algorithm-as-ecology, and technology as an evolving, pre-mechanized
condition, which perhaps moved away from "nature" in our common lexicon,
but never entirely in fact -- and that, too, in a way, robot poetics may
now be in our nature, so that all of us are inadvertantly engaged in it
at all times, some more consciously than others.
One of the most impactful lectures I sat in as a student was in a
4-fields required intro-anthro class, in Archeology. And in that lecture
-- on "technology," the professor opened with a slide on early nets --
literal nets, for fishing -- and how they transformed all that came
after. The conceptual shift that moved "technology" away from modern
machines to its root as the marriage of techne and logia.
I say this because The OS is entirely built on an iterative, ecological,
machine learning / agile, open source inspired model -- and because I
see myself quite literally at the helm of an organism, which is really
just a segment of breathing, evolving cyborg mycelia to which both
humans and code -- and, as such, the tools of our hyper-networked life
(like mobile devices) are intimately tied.
I'm sort of an early adopter nerd, you know -- I had a blog starting in
2003, was doing poetry and art on products on cafepress about that
time.... and I run in these sort of futurist circles -- I'm as likely to
be reading Rheingold or WIRED as I am poetry -- and so when I think
about the OS I think about how this organism MUST be built using the
materials of this time, and how _we_ are co-evolving in physical
landscape and rewriting our own genetics via the specific techne and
logia of this time. I believe this deeply.
So, that means -- I am thinking about SEO and languaging for social
networks, and metatagging, in my own art and poetics as well as in the
work I produce for the OS on and offline -- and I'm also looking for
sensibilities that marry those languages. I think often this manifests
in popular poetics as inclusions of meme or pop reference -- and I think
there's a place for that -- but my own scanner, looking at manuscripts
and work, is always seeking out voices that dialogue with the myriad
codes we are required to parse and codeswitch seamlessly in order to not
only function but especially to thrive here.
I think a lot of the work that I select for The OS catalog engages with
a post-colonial, anthropocene intersectionality that dives just as
deeply into ecopoetic concerns -- and all of this with an awareness of
the hyper-written linguistic simulacra of our engagements here. Mark
Gurarie's book, _Everybody's Automat_, as you say here, Margaret, is a
great example of this, as is Judith Goldman's [18]_agon [18]_ -- yet
none of these authors are overtly engaged with the titular work of
"robot poetics" -- which I think is important to consider. When given an
offer of this language, and versed in its questions, many of our authors
-- and myself -- would certainly consider ourselves to be working there,
but it's never been language that was used. Part of this may simply be
what part of academic life (or entirely non-academic life) folks find
themselves in. So much of the labelling (or lack thereof) has to do with
circles and association.
I've been thinking a lot about Paolo Soleri, whose work I return to
cyclically, and I'm currently writing a short pamphlet drawing on some
of his ideas (for Amanda Ngoho Reavey's Panthalassa Pamphlet series,
speaking of which) - he writes in _The Bridge Between Matter & Spirit is
Matter Becoming Spirit _about Esthetogenesis [19], a process of
self-revelation that becomes possible via evolution -- something he
envisioned as being irrevocably connected to how we as humans construct
our environment.
As I tried to find the right space within which to encourage others to
not only live here but dwell ala Heidegger [20], I thought that first
working immediately on the environment (as a designer / planner /
architect) would be the obvious choice, but as I came to understand the
disciplinary and institutional handcuffs on so much of that profession I
began to seek space for systemic, techne - logic change at the energetic
level -- through subtler, culture-change organizations, temporary
autonomous spaces, because I came to believe that the linguistic -- >
metaphysical --- > biochemical influence of ideological apparati has so
lodged in the body that it had begun to ossify -- so the mind/body
needed to change in order for the environment to continue working
alongside us evolutionarily.
Did I answer any of the questions?
What is a poem, what is my body, what is a machine -- and are these
three different, indeed? I often say that the poem is ur-language, the
language of all language and no language, the space of permission where
sound was the _figuring out_ rather than the assumed known. And I still
think, ideally, that is the case. Under that moniker, there are all
these other systems into which we fit language, for various purposes.
But it's ALL poetry. And code is poetry, and the body, as an
experimental phase of evolution written in our specific materials, can
be seen as a poetry, if these materials are the language of an
evolutionary writer or energy. And then, what is machine? well, then,
isn't poetry a machine, and body a machine -- but it's the space where
consciousness comes in and tries to hack the three -- a very human
space, a cyborg space (but we've always been cyborg -- interfacing with
other machines, like the great intelligent machines of rainforest, for
instance, which I hope we regain literacy in) ... and so? The OS. A
cyborg poem writ large, an evolutionary experiment with Esthetogenetic
aspirations.
SHH! don't tell anyone. :)
xoxo
The Operating System
www.theoperatingsystem.org [21]
Brooklyn, NY
“IN ORDER TO CHANGE AN EXISTING PARADIGM YOU DO NOT STRUGGLE TO TRY
AND CHANGE THE PROBLEMATIC MODEL. YOU CREATE A NEW MODEL AND MAKE THE
OLD ONE OBSOLETE.”
- R. Buckminster Fuller
On Tue, May 30, 2017 at 2:39 PM, Margaret J Rhee <mr...@uoregon.edu>
wrote:
Hi Lynne,
So Ching-In Chen and I spoke lovingly and warmly about you over the
weekend. Cyborg ears ringing! I was traveling in Wisconsin with
Ching-In for the Wiscon conference, and celebrate their new
publication which also delves in the speculative:
http://www.chinginchen.com
I'm thinking right now of how you mention Amanda Ngoho Reavey's
wonderful work, their anti-memoir Marilyn, and how it corresponds to
the transgressive ways The OS and your teaching projects emerge
through a robot poetics in many ways. I loved hearing Amanda's words
when her book won the Asian American Studies Association prize this
year, and reminded since I first encounter Amanda's work in Milwaukee
as well.
I love how you write, "dialogue has been CRITICAL in our editorial
process," which is not always the case for publishing houses. I think
it can also shape and intervene with poetics, and especially the kind
that veers into experimentalism and play!
I've been thinking a lot about anthropology/poetry actually, and so
I'm glad you brought up your training, and the turn or re-tur to and
with art. Well, it's always been intriguing thinking about Ursula Le
Guin as the daughter of an anthropologist, Alfred Louis Kroeber. Or
with feminists, thinking of Zora Neale Hurston, Gina Athena Ulysses,
and Ana Maurine-Lara, who all turned to, or includes the art with
their anthropological questions.
Gina writes in her new collection, 'Because When God Is Too Busy:
Haiti, me, & The World':
"Why do they think so many black women in anthropology keep turning to
the arts?"
*
I also LOVE Margaretha's work, and I feel it aligns with so much of
the politics and aesthetics of your work, in the transgression and
paradisciplinary approaches. There is so much poetics in THE OS, and
in Margaretha's work of The Guerrilla Grafters. And while not
explicitly about the robot in content, I feel the cybernetic
organization really lend itself to the robot poetics we've been
discussing this month, and love to hear more.
One thing seemingly different from robot poetics, but feels connected
is place. I've been interested in how --empyre-- is an international
listserve, and how it connects with various peoples in different
places, and connections of work possible. I think of Mark Gurarie's
book with The OS, and how science fictional elements, and your
interview with him:
http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-everybodys-automats-mark-gurarie/
[1]
His work includes science fictional elements that align with robot
poetics, and he is also a musician, and you both do such amazing
curatorial work in NYC, could you talk a bit about how might place,
engage with space (or content), and make possible such a dynamic
supernova like The OS? I think about this, especially when Mark and
Alex came out to Eugene, Oregon to read poetry last year. Upon
returning to Oregon, I can't help think about these tropes around
utopia, dystopia, and race. Not to end on a challenging note, but am
buoyed by the light of The OS, and the work you do. Happy to hear more
if you have time, and any thoughts on poetry, robots, and machines.
warmest,
Margaret
On 2017-05-29 14:51, Lynne DeSilva-Johnson wrote:
Hi All! So glad to be here.
Such great questions! I wasn't verbose at ALL in answering them....
ONWARD!
To begin, Lynne, I wonder if you can speak to the importance of
dialogue in your editorial process? I was struck by the interview you
had with Alex and other authors you work with, why did you decide to
include dialogues, and how do you approach the publishing process
differently? I, and many others, are all very moved by The OS and this
description:
"THIS is not a fixed entity. It is an ongoing experiment in resilient
creative practice which necessarily morphs as its conditions and
collaborators change."
HA! No surprise that Margaret should cut right to the heart of the
thing! I’ll do my best to not go on for pages and pages just
answering these intro questions!
A critical thing to know about what I’ve tried to build with The
Operating System [6] is that it is always meta-aware of its role as a
cultural mediator, not only at present but in the future. Which
perhaps sounds utterly pompous, but it isn’t meant as that: what I
mean is that I’m very concerned about the archive, and ontological
practice as it concerns creative practice and practitioners. So a lot
of the decisions that I make are informed by a desire to
simultaneously disrupt / inform / intentionally participate in this
storytelling.
When I think about the hagiography of creative practitioners (and this
also applies to “geniuses” -- i.e/, hero-storylines across
disciplines, not only in the arts) I do so through the lens of someone
who grew up idolizing what I now realize are largely fictitious
personas -- and who was hurt by that as much as I was inspired by it,
because I didn’t feel it was accessible to me as a person of meagre
financial means...who was told by a post-depression immigrant family
that creative practice was some combination of irresponsible and
selfish as a life-choice. And, while I was rigorous and talented in my
artistic studies, and had some good “ideas” I felt I lacked the
type of “vision” or “inspiration” that would make such a
risky, irresponsible decision a good idea...something I’ve now spent
two decades re-wiring my brain around.
The hindsighted mythology with which we talk about creative practice
both culturally and (even more problematically) in learning
environments is one which puts inspiration/the muse / as well as
finished product/output on a pedestal -- and is also one of reductive,
dangerous erasure for subject and audience alike.
While I do think that this is getting better as educators become more
sensitive to intersectional concerns, and while contextual, historical
information as well as personal history might now be di rigeur
inclusions for any curator worth their salt, this doesn’t carry over
yet to how we as a society talk or think about creative work. We
“value” it, but in a way that puts it in a box to be marvelled
over. The notion that poetry like bread is for everyone [7] (a
favorite quote from Salvadoran Roque Dalton) is a critical one -- and
I do mean for everyone, not only in its appreciation but also its
making.
So many in the arts world tread this fine line where on the surface
there is vocal social justice warriorhood but just below is the fear
that if everyone is encouraged, legitimized as valid, has open access
and the tools to make work, publish work, teach, etc., that somehow
their own legitimacy or value will be lost. And so I think there’s a
certain amount of smoke and mirrors that a lot of people participate
in in terms of maintaining a certain allure or mystery around
creativity, genius, and practice. So there’s still a lot of
gatekeeping that goes on in arts organizations, and publishing, even
amongst those who would seem to be ardently against these things (and
may “be,” intellectually.)
And, well -- I just think that’s totally bunk. The important thing
for me is that there be open conversation about the fear that folks
have around that (fear of losing legitimacy) -- and to recognize its
root causes. Here, in the United States, I would say that it’s
rooted in a bioprecarious state. But I’m geting away from myself.
The point is: especially as I look at our production as existing
within a spectrum of ontological storytelling, holding space for how
the work we present is received and contextualized, I feel that I play
the role of curator, and akin to presentation in visual art spaces and
cultural institutions, so too within pages I feel I would be remiss to
not somewhat frame the cultural output we have chosen to enter the
archive with some anchoring information about time, place, social
tenor, and personal practice on the part of the author.
From day 1, dialogue has been CRITICAL in our editorial process, as is
self-awareness -- both as organization and as artist. In every book we
produce, we encourage the inclusion / production of substantive
back-matter… as much as the author is willing to engage in. At the
very least, this takes the form of the Q&A you see here with Alex, but
it can be quite extensive -- especially in cases like Amanda Ngoho
Reavey’s poetic anti-memoir, Marilyn [8], or JP Howard’s
SAY/MIRROR [9], a collection of poems focused on her relationship with
her mother, Ruth King, a prominent early African-American fashion
model.
So we encourage it in and around the books themselves, we encourage
our collaborators and contributors to engage in it, and we extend that
engagement and visibility onto our online platform. In fact, the
online platform has long been a site of this encouragement, with
series like “FIELD NOTES [10]” and “RE:CONVERSATIONS [11]”
seeking to open up process from a wide range of practitioners and
facilitate archiving of ephemeral presentations.
That facilitation also guides our editorial process on the catalog
level -- manifesting in a desire to seek out, encourage, and document
hybrid work that often falls between the cracks of easily publishable
or marketable work (but that represents some of the most brilliant,
avant garde practice of our time), seeking out and making possible the
translation and publication of silenced and/ or out of print voices
via our Glossarium [12] series, and facilitating full performance
volumes to like There Might Be Others [13] or A Gun Show [14].
And as far as not being a fixed entity is concerned: woof! I, we, are
SO imperfect (and yet so biologically / chemically / magnetically
fascinating / intelligent). It’s not doing us any good to put up
fronts the way we do. We exhaust ourselves, we set up false
expectations, we encourage others to feel less capable. I’d prefer
to start at humble, from the outset make it crystal clear we intend to
evolve and know we must, and encourage others to feel akin in our
shared struggle, to come aboard and work together.
Somehow, I missed the lesson on how free market competition is going
to help us, probably somewhere around the time it clearly began
fucking the environment and everyone on it over. So I’m legit here
to share everything I learn along the way. Better you learn from my
mistakes than make them again, save your money and your time, and so
on. We’ll all be better resourced -- in physical ways and in trust,
so sorely needed.
I love how alive The OS feels, and how you begin with THIS. It reminds
me that The OS is alive. And this has resonance to a recent
conversation I had with really amazing artist Margaretha Haughwout and
my class on art/activism last week. I first "met" Margaretha on empyre
as participants in Kyle McKinley's social practice forum too, and
Margaretha's work has also been a constant inspiration, and she
described collaboration with humans and (non) humans as well in her
work: http://www.guerrillagrafters.org [2] [15]
I'm feeling some resonance here, and I am moved to think about the
(non) human, but also human and living elements of The OS, and both of
your collaborative practice. Could you share more about The OS, and
the intersections of organic, technological, and poetic in your work
as an artist and editor?
Oh man do I have ALL THE FEELS for what Margaretha does with
_guerrilla grafters_! And, absolutely, is there resonance here. You
are absolutely right to intuit that there is intention around human /
nonhuman / living systems work with the OS, and I don’t often speak
to it that directly, but I’m happy to.
I sometimes mention in interviews that my roundabout academic path
took me through anthropology and fine art (manifesting in social
practice art / installations, this in about 1999-2002), then to a
masters in urban design (manifesting in intermediary books /
installations as well), then back to a PhD in cultural anthropology
with a focus on space and place (which I sort of went rogue on after
finishing 5 years of coursework) -- the reason I mention this though
is because I’m doing all of these things via The OS. And because
it’s all art and activism -- a personal practice manifest as an
organization. Social practice art as public social experiment. And,
absolutely, always, as performance. And: this performance / art /
activist experiment is very specifically _now -- _ in so far that the
way it engages with public culture as both virtual and print media is
tailored to this time, and will continue to evolve as those platforms
do.
The way the books are designed and operate, the work I choose is
always in conversation with the fact that we're making, producing, and
documenting work NOW. Which means also that even though I seek to
carry on the tradition of print, I also seek to learn from systems of
organization, from nonlinear formatting and information architecture,
in creating print documents for _this_ time which correspond to and
or
informed by the new ways we see and learn and read and experience,
acknowledging and even welcoming those challenges, and understanding
that many people are coming out of school not reading or reading
differently, or doing so while texting or taking in other media.
Working across media is necessary. Evolving the page is necessary,
exciting. And -- we are in the first time in history where far more of
our documentation is _born digital_ -- something that greatly impacts
my concern and thinking around the archive and the impact of creating
manifold documents to potentially carry story into the future.
The OS is absolutely grounded in methodology from my anthropological
training -- research methods in participant observation, the value of
field notes, and rigorous documentation and facilitation are all
things years of engagement in these texts gave me highly valuable
takeaways from.
However, I found social science as a professional discipline deeply
troubling, especially given the current state of the academy, and
I’m glad I’m not held to its strictures. I had chosen the field
because much of what I read mirrored the kinds of questions I thought
everyone desperately needed to engage in, and as such I found the
reflexive work of Pierre Bourdieu viscerally necessary, the work of
Mick Taussig deeply inspiring, the work of Bateson and other systems
thinkers heuristically life changing, and it’s where I found Chris
Marker, and so many other people asking vital, difficult questions
about the world and the self and how to talk about / represent it
responsibly. Also: there are also so many courageous anthropologists
helping to facilitate indigenous people’s movements all over the
world -- how to use these tools for social and cultural good has
taught me so much.
I may not be physically grafting ecologies, and I may no longer be
presenting 70,000 person satellite city plans to the planning office
in Hanoi (hello, life circa 2005) but I will never stop caring about
our lived places, thinking and writing about how what we build and
create manifests in our bodies and how the relationship of space and
place shifts us individually, as a culture, and as a planet in
infinitely meaningful ways -- both good and bad. And I will never stop
planning and theorizing systems change, and how that can play out in
physical environments. But I found the field exhausting and too often
wildly misogynist -- and not necessarily where I would make the most
change. I’ve taught in architecture schools in myriad settings,
which I find extremely gratifying, and hope to continue to affect
architecture education on a curricular level -- something that would
have greater impact than I could have ever had independently as a
designer.
With The Operating System, I’ve continued my life-experiement of
auto-evolution, which I’ve been sideways writing a book on for about
a decade. I believe deeply that we can rewire ourselves, that we can
hack into our programming -- including the diminishing, crippling
impact of epigenetic and lifetime trauma on the body (which I’m
currently battling) -- and that we will do this strategically through
system design. On a daily basis, the hacks that will enable the larger
scale rewriting and rewiring include intentional, attentional work
with language / communication, physical actions and reactions,
meditation / mindfulness / brain training, gender and body
modification, and a continued awareness of / engagement in ecosystem
concerns.
My ability to do what I do with The OS should frankly not be possible,
defies logic, and I know it reads as impossible to a lot of people --
or, they perceive me as hiding resources (no such luck) or having some
sort of super-human power (I don’t, in fact I’m deeply chronically
ill) -- and I know that a lot of what I’m proposing requires leaps
of faith and a sort of evolutionary availability that is hard to
access right now. So: modelling.
I’d like to move what we’re doing with The OS into more direct
action but I also have learned along the way, (back to the hagiography
of art / archive) that freedom for creative practice is one of the
most revolutionary tools at our disposal as humans. And I see as my
role a facilitation of creative freedom and possibility, a radical
opening, that intersects with social justice, ecology, and our
continued race toward cyborg-intelligence. I am the system and the
system is me, you know? Sort of like in the night kitchen [16], but
with lithium ion milk.
Lynne DeSilva-Johnson
Managing Editor
The Operating System
www.theoperatingsystem.org [3] [17]
Brooklyn, NY
“IN ORDER TO CHANGE AN EXISTING PARADIGM YOU DO NOT STRUGGLE TO TRY
AND CHANGE THE PROBLEMATIC MODEL. YOU CREATE A NEW MODEL AND MAKE THE
OLD ONE OBSOLETE.”
- R. Buckminster Fuller
On Mon, May 29, 2017 at 1:51 PM, Margaret J Rhee <mr...@uoregon.edu>
wrote:
Many thanks again to Keith, Sun Yung, Jenny, and Saba for the rich
threads generated by the conversation this week!
To add to the Machine Dreams, I'm very happy to e-introduce Lynne
DeSilva-Johnson, who is a dynamic and inspiring artist, activist,
professor, and publisher. Lynne is also the founder and editor of
The Operating System, which will be releasing my full length poetry
collection of robot love poems this Fall. We are thrilled she can
join us for the last few days of the dialogue, and look forward to
hearing more about The OS, and her alchemist work as an artist and
editor.
I actually first met Lynne through a digital into to The OS by dear
mutual friend poet and activist Ching-In Chen, and Machine Dreams
contributor Alex Crowley, who is also my editor at Publisher's
Weekly, and has a wondrous poetry chapbook published by The
Operating System titled Improper Maps.
Alex's drone poems are in the Machine Dreams Zine (pg 20)
https://issuu.com/repcollective/docs/machine_dreams_issuu [4] [1]
You can read more about Alex's collection with The OS in a fantastic
dialogue with Lynne here:
http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
[5]
[2]
Lynne is also the co-editor of this recent anthology of resistance
poetry: http://www.spuytenduyvil.net/resist-much-obey-little.html [6]
[3]
and you can read a Wave Composition interview with Lynne here:
http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
[7]
[4]
----
To begin, Lynne, I wonder if you can speak to the importance of
dialogue in your editorial process? I was struck by the interview
you had with Alex and other authors you work with, why did you
decide to include dialogues, and how do you approach the publishing
process differently? I, and many others, are all very moved by The
OS and this description:
"THIS is not a fixed entity. It is an ongoing experiment in
resilient creative practice which necessarily morphs as its
conditions and collaborators change."
I love how alive The OS feels, and how you begin with THIS. It
reminds me that The OS is alive. And this has resonance to a recent
conversation I had with really amazing artist Margaretha Haughwout
and my class on art/activism last week. I first "met" Margaretha on
empyre as participants in Kyle McKinley's social practice forum too,
and Margaretha's work has also been a constant inspiration, and she
described collaboration with humans and (non) humans as well in her
work: http://www.guerrillagrafters.org [2] [5]
I'm feeling some resonance here, and I am moved to think about the
(non) human, but also human and living elements of The OS, and both
of your collaborative practice. Could you share more about The OS,
and the intersections of organic, technological, and poetic in your
work as an artist and editor?
Lynne's bio is below:
Lynne DeSilva-Johnson is a queer interdisciplinary creator, curator,
educator, and facilitator working in performance, exhibition, and
publication in conversation with new media. Now a visiting assistant
professor at Pratt, Lynne was previously an adjunct at CUNY, and
teaching artist for over a decade. She is the founder and Managing
Editor of The Operating System, as well as Libraries Editor at Boog
City. Lynne is the author of GROUND, blood atlas, and Overview
Effect, co-author of A GUN SHOW with Adam Sliwinsk/Sō Percussion,
and co-editor of the anthologies RESIST MUCH, OBEY LITTLE: Inaugural
Poems for the Resistance, and In Corpore Sano: Creative Practice and
the Challenged Body. Recent or forthcoming publication credits
include Drunken Boat/Anomaly, The Brooklyn Poets Anthology, Gorgon
Poetics, Supplement, Live Mag!, and a Panthalassa Pamphlet from Tea
& Tattered Pages Press. She performs often, resists always, and
lives in Brooklyn NY.
--
Margaret Rhee, Ph.D.
Visiting Assistant Professor
Women's and Gender Studies
University of Oregon
Links:
------
[1] https://issuu.com/repcollective/docs/machine_dreams_issuu [4]
[2]
http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
[5]
[3] http://www.spuytenduyvil.net/resist-much-obey-little.html [6]
[4]
http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
[7]
[5] http://www.guerrillagrafters.org [2]
[6] http://theoperatingsystem.org
[7] http://cappuccinosoul.blogspot.com/2009/04/como-tu-like-you.html
[8]
[8] https://squareup.com/store/the-operating-system/item/marilyn [9]
[9] http://www.spdbooks.org/Products/9780986050527/saymirror.aspx [10]
[10]
http://www.theoperatingsystem.org/category/community_content/fieldnotes/
[11]
[11]
http://www.theoperatingsystem.org/category/community_content/re_conversations/
[12]
[12] http://www.theoperatingsystem.org/unsilenced-texts/ [13]
[13]
https://squareup.com/store/the-operating-system/item/there-might-be-others-rebecca-lazier-and-dan-truman?square_lead=item_embed
[14]
[14]
https://squareup.com/store/the-operating-system/item/a-gun-show-so-percussion
[15]
[15] http://www.guerrillagrafters.org/ [16]
[16] https://en.wikipedia.org/wiki/In_the_Night_Kitchen [17]
[17] http://www.theoperatingsystem.org [3]
--
Margaret Rhee, Ph.D.
Visiting Assistant Professor
Women's and Gender Studies
University of Oregon
Links:
------
[1]
http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-everybodys-automats-mark-gurarie/
[2] http://www.guerrillagrafters.org
[3] http://www.theoperatingsystem.org
[4] https://issuu.com/repcollective/docs/machine_dreams_issuu
[5]
http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
[6] http://www.spuytenduyvil.net/resist-much-obey-little.html
[7]
http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
[8] http://cappuccinosoul.blogspot.com/2009/04/como-tu-like-you.html
[9] https://squareup.com/store/the-operating-system/item/marilyn
[10] http://www.spdbooks.org/Products/9780986050527/saymirror.aspx
[11]
http://www.theoperatingsystem.org/category/community_content/fieldnotes/
[12]
http://www.theoperatingsystem.org/category/community_content/re_conversations/
[13] http://www.theoperatingsystem.org/unsilenced-texts/
[14]
https://squareup.com/store/the-operating-system/item/there-might-be-others-rebecca-lazier-and-dan-truman?square_lead=item_embed
[15]
https://squareup.com/store/the-operating-system/item/a-gun-show-so-percussion
[16] http://www.guerrillagrafters.org/
[17] https://en.wikipedia.org/wiki/In_the_Night_Kitchen
[18]
https://squareup.com/market/the-operating-system/agon-judith-goldman
[19] https://arcosanti.org/glossary
[20] http://designtheory.fiu.edu/readings/heidegger_bdt.pdf
[21] http://www.theoperatingsystem.org/
--
Margaret Rhee, Ph.D.
Visiting Assistant Professor
Women's and Gender Studies
University of Oregon
_______________________________________________
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