Hackers & Designers - User contributions [en]

CLOUDY CONCERT FOR SENSES

2026-10-30T15:40:21Z

Juliette:

{{Event
|Name=CLOUDY CONCERT FOR SENSES
|Location=H&D Studio
|Date=2026/07/21
|Time=14:30-15:30
|PeopleOrganisations=Scobi
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

[[File:HD workshops new23.jpg|600px]]

Hello, my name is Anne Lise, and this is a proposition for a collective practice usually called CONCERT FOR SENSES. It is not my invention haha, it comes from a common performance / dance / physical network of practicians and friends.

So everytime we use it, it can be twisted and reshaped depending on the context.

This practice is about improvised gestures, caring tool, physical actions, body sensitive tuning.

This is the situation in a chosen place indoor or outdoor where it is okay to lay down and hear delicate sounds.

This session at HDSC2026 was around 1 hour long.

* ¤ a group of people was divided in 2 groups : the '''receivers''' and the '''givers'''.
* the groups switched in the second half of the session. [20min x 2]

[[File: cloudy1.jpg]]

꒰●꒡ ̫ ꒡●꒱ THE RECEIVERS : they placed themselves in the space in order to feel the more relaxed they can. It could be any kind of position. They focused on their 4 senses : touch, smell, hear, taste. The VIEW was inhibited. But if it was not possible to close your eyes, you could leave them passively open.

Before starting, the receivers wrote down their limits, their triggers, the things they are not OKAY with in order to respect a fully consented practice. They wrote it down on a paper and kept it visible next to them.

꒰⑅•ᴗ•⑅꒱ THE GIVERS : they GAVE a concert for the senses of the receivers. This concert was improvised, and in dialogue with the other givers. They could activate an infinite variations of tools and materials they found in the space or bring from outside. It was not ONLY about music !! Concert has to be understood in a polysemic wide perception _____ smelling plastic fragrances, listening coded recipies, touching a violin or lemon skins, tasting fermented scobi ...

This always has to be kind and in consideration of the triggers / limits that the receivers stated previously.

[[File: cloudy2.jpg]]

The session was timed like this
* 3 min for writting personnal limits
* for 20 min = concert #1
* switch roles
* for 20 min = concert #2
* 10min of sharing thoughts

'''CLOUDY context !! '''
The proposition to connect to this summer camp.

The task was to ask the participants to come to the session with 3 "precious things" they have on their "clouds" and they could activate, translate, perform, play, sing, manipulate, diffuse.... SHARE with the group.
Any kind of material from any kind of cloud was welcome.

Ortoportrait

2026-10-30T15:35:15Z

Juliette:

{{Event
|Name=ortoportrait
|Location=Heesterveld Community Garden
|Date=2026/07/21
|Time=15:30-18:30
|PeopleOrganisations=Agnese Smaldone
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

This outdoor drawing workshop was held in the Heesterveld Community Garden moves from observation to making — a process of slow, embodied attention.
Participants engaged in extended contemplation of a chosen plant, guided by written instructions and questions. The host will offer both scientific (ecology, morphology, phenology, physiology) and imaginative/speculative guidance. Participants shift between these two modes as they draw, at their own pace, for the length of the session. Drawing instruments are handmade by the host, assembled from recycled and organic found materials from the garden. The resulting portraits of their plants will draw a collective map of the garden.

<gallery>
Ortoportrait1-bis.jpg
ortoportrait2.jpg
ortoportrait3.jpg
ortoportrait4.jpg
ortoportrait5.jpg
ortoportrait6.jpg
ortoportrait7.jpg
ortozine1.png
ortozine2.png
ortozine3.png
</gallery>

'''Timeline:'''

Total duration: 2–3 hours
* Arrival in the garden, short introduction
* Walk through the garden, choosing a plant
* Participants sit down, drawing materials were handed out
* Observation and drawing, guided by written questions, no fixed pace or endpoint within the session

'''Access note:'''
* No technical skills or prior knowledge was needed. Seated activity. Pillows or blankets are welcome.

'''Additional notes:''''
* Location. The workshop took place in a community garden next to Bullewijk metro station in Amsterdam, a 2-minute walk from the metro.
* A house adjacent to the garden gives participants access to a toilet, drinking water, and anything else a household can offer.
* A bar is nearby.
* The garden has big tables with benches; pillows or blankets can be added for comfort.

'''Bio:'''

Agnese Smaldone is an Italian artist based in Amsterdam. In their drawings, paintings, sculptures, and textiles, they reference the psychological interior and the systems that attempt to contain it, exploring how incompleteness is not a flaw of the self but its basic condition. What emerges borrows appearance from a pre-constructed system, only to disable it and return to a pre-functional, “magical” state.

[[File:HD workshops new25.jpg|thumb]]

Ortoportrait

2026-10-30T15:33:28Z

Juliette:

{{Event
|Name=ortoportrait
|Location=Heesterveld Community Garden
|Date=2026/07/21
|Time=15:30-18:30
|PeopleOrganisations=Agnese Smaldone
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

This outdoor drawing workshop was held in the Heesterveld Community Garden moves from observation to making — a process of slow, embodied attention.
Participants engaged in extended contemplation of a chosen plant, guided by written instructions and questions. The host will offer both scientific (ecology, morphology, phenology, physiology) and imaginative/speculative guidance. Participants shift between these two modes as they draw, at their own pace, for the length of the session. Drawing instruments are handmade by the host, assembled from recycled and organic found materials from the garden. The resulting portraits of their plants will draw a collective map of the garden.

<gallery>
Ortoportrait1-bis.jpg
ortoportrait2.jpg
ortoportrait3.jpg
ortoportrait4.jpg
ortoportrait5.jpg
ortoportrait6.jpg
ortoportrait7.jpg
ortozine1.png
ortozine2.png
ortozine3.png
</gallery>

'''Timeline:'''

Total duration: 2–3 hours
* Arrival in the garden, short introduction
* Walk through the garden, choosing a plant
* Participants sit down, drawing materials are handed out
* Observation and drawing, guided by written questions, no fixed pace or endpoint within the session

'''Access note:'''
* No technical skills or prior knowledge needed. Seated activity. Pillows or blankets are welcome.

'''Additional notes:''''
* Location. The workshop takes place in a community garden next to Bullewijk metro station in Amsterdam, a 2-minute walk from the metro.
* A house adjacent to the garden gives participants access to a toilet, drinking water, and anything else a household can offer.
* A bar is nearby.
* The garden has big tables with benches; pillows or blankets can be added for comfort.

'''Bio:'''

Agnese Smaldone is an Italian artist based in Amsterdam. In their drawings, paintings, sculptures, and textiles, they reference the psychological interior and the systems that attempt to contain it, exploring how incompleteness is not a flaw of the self but its basic condition. What emerges borrows appearance from a pre-constructed system, only to disable it and return to a pre-functional, “magical” state.

[[File:HD workshops new25.jpg|thumb]]

File:Ortoportrait1-bis.jpg

2026-10-30T15:33:19Z

Juliette:

Imagining anarcho-collective networks: mesh-networking together through Reticulum

2026-10-30T15:32:16Z

Juliette:

{{Event
|Name=Imagining anarcho-collective networks: mesh-networking together through Reticulum
|Location=H&D Studio
|Date=2026/07/21
|Time=11:00-13:30
|PeopleOrganisations=Sen
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

[[File:HD workshops new24.jpg|600px]]

In this collective session we fantasized together about alternative communication infrastructures. What would a world with anarcho-collective networks such as Reticulum look like? How would we interact differently with such a network?

Reticulum is a somewhat new mesh networking-stack that allows you to build large networks with accesible off-the-shelf technology. This allows users to use and create a network that empowers the autonomy and sovereignty of communities and individuals, not subjected to outside control or censorship.

In the process of creating this new network, we can most likely all agree that Reticulum shouldn't become an internet 2.0. So, what different shape could this new network create? We have all the cards, we just have to play them...

In this workshop we will delve into what Reticulum is, set up a basic instance on our computer, discover in what shapes it is already being used by exploring NomadNet pages together, and lastly fantasize about an alternative world where Reticulum is our main communication infrastructure, all ideas crazy and practical welcome.

This workshop didn't delve into specifics of the technologies used by Reticulum!

<gallery>
reticulum1.JPG
Reticulum2-bis.jpg
reticulum3.JPG
reticulum4.JPG
reticulum5.JPG
</gallery>

Proposed time schedule:
* Introduction to Reticulum (45m)
* Setting up NomadNet / MeshChatX on our computers (30m)
* Small break (15m)
* Browse NomadNet together and collect pages and resources (30m)
* Popcorn time: wild ideas for Reticulum (30m)
* Sharing thoughts and reflections (20m)

'''What is Reticulum and why should you care?''' (Detailed)

Reticulum is a cryptography-based networking stack for building both local and wide-area networks with readily available hardware, that can continue to operate under adverse conditions, such as extremely low bandwidth and very high latency.

Reticulum allows you to build wide-area networks with off-the-shelf tools, and offers end-to-end encryption, forward secrecy, autoconfiguring cryptographically backed multi-hop transport, efficient addressing, unforgeable packet acknowledgements and more.

From a users perspective, Reticulum allows the creation of applications that respect and empower the autonomy and sovereignty of communities and individuals. Reticulum enables secure digital communication that cannot be subjected to outside control, manipulation or censorship.

Reticulum enables the construction of both small and potentially planetary-scale networks, without any need for hierarchical or bureaucratic structures to control or manage them, while ensuring individuals and communities full sovereignty over their own network segments. (above courtesy of Reticulum.network)

The Reticulum Network is a very clear jump in networking infrastructure over the internet. Whilst the world has become more uncertain, our communication infrastructure has only become more centralised. Even if we choose to use "better" alternatives to WhatsApp, Instagram, etc., we are still always completely reliant on the one underlying network, i.e. "The Internet". With the push of a button, "The Internet" may all of a sudden become unavailable. In places with oppressive regimes, this has not been uncommon. In the current political climate, it would not be surprising if any political system all of a sudden became repressive. (Text courtesy of various Reticulum organisers in low countries)

'''Access note:'''
* This workshop will be conducted in English.
* Software used in this workshop is still early in development and is not yet designed to be accessible for participants with special needs.

'''Participants, please bring!'''
* Your computer
* If you have any, LoRa Boards would be fun to bring

'''Resources:'''
* The Zen of Reticulum: https://reticulum.network/manual/zen.html
* Reticulum Community Site: https://reticulum.community/

'''Bio:'''

Sen van der Heide / 上田蟬 / Sen Ueda

Sen (22) is a Dutch-Japanese cultural worker, artist, and technologist, and a student of HKU Image & Media Technology in Utrecht. He explores the influences of technological systems on our society and daily life.

His work focuses on designs and interventions that rethink technology in ways that are non-extractivist, anti-capitalist, and democratic, with the goal of giving citizens more say. He develops projects that are both critical and practical, such as interventions in physical space and the hosting and development of accessible alternative tools and infrastructures to big tech, aimed at local use by diverse communities.
His practice is interdisciplinary and participatory. He works closely with cultural, social, civic, and municipal organizations such as Civic Creative Base Tokyo (CCBT), Varia, and Uncloud, and is often active in civic volunteer roles in which he seeks direct contact with diverse groups of people.

File:Reticulum2-bis.jpg

2026-10-30T15:32:08Z

Juliette:

Imagining anarcho-collective networks: mesh-networking together through Reticulum

2026-10-30T15:29:18Z

Juliette:

{{Event
|Name=Imagining anarcho-collective networks: mesh-networking together through Reticulum
|Location=H&D Studio
|Date=2026/07/21
|Time=11:00-13:30
|PeopleOrganisations=Sen
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

[[File:HD workshops new24.jpg|600px]]

In this collective session we fantasized together about alternative communication infrastructures. What would a world with anarcho-collective networks such as Reticulum look like? How would we interact differently with such a network?

Reticulum is a somewhat new mesh networking-stack that allows you to build large networks with accesible off-the-shelf technology. This allows users to use and create a network that empowers the autonomy and sovereignty of communities and individuals, not subjected to outside control or censorship.

In the process of creating this new network, we can most likely all agree that Reticulum shouldn't become an internet 2.0. So, what different shape could this new network create? We have all the cards, we just have to play them...

In this workshop we will delve into what Reticulum is, set up a basic instance on our computer, discover in what shapes it is already being used by exploring NomadNet pages together, and lastly fantasize about an alternative world where Reticulum is our main communication infrastructure, all ideas crazy and practical welcome.

This workshop didn't delve into specifics of the technologies used by Reticulum!

<gallery>
reticulum1.JPG
reticulum2.JPG
reticulum3.JPG
reticulum4.JPG
reticulum5.JPG
</gallery>

Proposed time schedule:
* Introduction to Reticulum (45m)
* Setting up NomadNet / MeshChatX on our computers (30m)
* Small break (15m)
* Browse NomadNet together and collect pages and resources (30m)
* Popcorn time: wild ideas for Reticulum (30m)
* Sharing thoughts and reflections (20m)

'''What is Reticulum and why should you care?''' (Detailed)

Reticulum is a cryptography-based networking stack for building both local and wide-area networks with readily available hardware, that can continue to operate under adverse conditions, such as extremely low bandwidth and very high latency.

Reticulum allows you to build wide-area networks with off-the-shelf tools, and offers end-to-end encryption, forward secrecy, autoconfiguring cryptographically backed multi-hop transport, efficient addressing, unforgeable packet acknowledgements and more.

From a users perspective, Reticulum allows the creation of applications that respect and empower the autonomy and sovereignty of communities and individuals. Reticulum enables secure digital communication that cannot be subjected to outside control, manipulation or censorship.

Reticulum enables the construction of both small and potentially planetary-scale networks, without any need for hierarchical or bureaucratic structures to control or manage them, while ensuring individuals and communities full sovereignty over their own network segments. (above courtesy of Reticulum.network)

The Reticulum Network is a very clear jump in networking infrastructure over the internet. Whilst the world has become more uncertain, our communication infrastructure has only become more centralised. Even if we choose to use "better" alternatives to WhatsApp, Instagram, etc., we are still always completely reliant on the one underlying network, i.e. "The Internet". With the push of a button, "The Internet" may all of a sudden become unavailable. In places with oppressive regimes, this has not been uncommon. In the current political climate, it would not be surprising if any political system all of a sudden became repressive. (Text courtesy of various Reticulum organisers in low countries)

'''Access note:'''
* This workshop will be conducted in English.
* Software used in this workshop is still early in development and is not yet designed to be accessible for participants with special needs.

'''Participants, please bring!'''
* Your computer
* If you have any, LoRa Boards would be fun to bring

'''Resources:'''
* The Zen of Reticulum: https://reticulum.network/manual/zen.html
* Reticulum Community Site: https://reticulum.community/

'''Bio:'''

Sen van der Heide / 上田蟬 / Sen Ueda

Sen (22) is a Dutch-Japanese cultural worker, artist, and technologist, and a student of HKU Image & Media Technology in Utrecht. He explores the influences of technological systems on our society and daily life.

His work focuses on designs and interventions that rethink technology in ways that are non-extractivist, anti-capitalist, and democratic, with the goal of giving citizens more say. He develops projects that are both critical and practical, such as interventions in physical space and the hosting and development of accessible alternative tools and infrastructures to big tech, aimed at local use by diverse communities.
His practice is interdisciplinary and participatory. He works closely with cultural, social, civic, and municipal organizations such as Civic Creative Base Tokyo (CCBT), Varia, and Uncloud, and is often active in civic volunteer roles in which he seeks direct contact with diverse groups of people.

File:Reticulum3.JPG

2026-10-30T15:23:32Z

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2026-10-30T15:23:32Z

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2026-10-30T15:23:27Z

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2026-10-30T15:23:20Z

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Towards a Culture of Gift Computing

2026-10-30T15:19:13Z

Juliette:

{{Event
|Name=Towards a Culture of Gift Computing
|Location=H&D Studio
|Date=2026/07/17
|Time=16:00-18:30
|PeopleOrganisations=Florence
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

[[File:HD workshops new15.jpg|600px]]

Drawing on Lewis Hyde’s ‘The Gift’ and fandom gift economies, we gathered to consider what gift computing could look like and how we could nurture a culture of gifting in our everyday lives.

Participants were welcome to bring their Laptops, as well as gifts!

<gallery>
gift3.JPG
gift1.JPG
gift2.JPG
gift4.JPG
gift5.JPG
gift6.JPG
</gallery>

''The following principles (and associated text) were taken from Lewis Hyde’s 1983 book ‘The Gift’. We read through them together; they are the foundation on which our discussion rests.''

==1. THE GIFT MUST ALWAYS MOVE.==

‘As it is passed along, the gift may be given back to the original donor, but this is not essential. In fact, it is better if the gift is not returned but is given instead to some new, third party. The only essential is this: the gift must always move.’ (p.29)

‘...unlike the sale of a commodity, the giving of a gift tends to establish a relationship between the parties involved. Furthermore, when gifts circulate within a group, their commerce leaves a series of interconnected relationships in its wake, and a kind of decentralized cohesiveness emerges.’ (p.23)

==2. THE GIFT MUST BE CONSUMED.==

‘...a gift must always be used up, consumed, eaten. The gift is property that perishes… Food is one of the most common images for the gift because it is so obviously consumed.’ (p.34)

‘In a gift exchange the transaction itself consumes the object. Now, it is true that something often comes back when a gift is given, but if this were made an explicit condition of the exchange, it wouldn’t be a gift.’ (p.35)

'In commodity exchange it’s as if the buyer and seller were both in plastic bags; there’s none of the contact of a gift exchange. There is neither motion nor emotion because the whole point is to keep the balance, to make sure the exchange itself doesn’t consume anything or involve one person with another.' (p.36)

==3. THE GIFT IS GIVEN IN SILENCE.==

‘A man may wonder what will come in return for his gift, but he is not supposed to bring it up. Gift exchange is not a form of barter… Partners in barter talk and talk until they strike a balance, but the gift is given in silence.’ (p.41)

‘When I give to someone from whom I do not receive (and yet I do receive elsewhere), it is as if the gift goes around a corner before it comes back. I have to give blindly. And I will feel a sort of blind gratitude as well.’ (p.43)

’…each donation is an act of social faith.’ (p.43)

Hyde also discusses the Kula gift exchange that takes place in the Trobriands, in Papua New Guinea – in which ceremonial armbands and necklaces are passed in a clockwise circuit around the islands, with nobody giving to the same person from whom they are receiving.

There is a natural comparison here with the gift economies of fandom – which also form a vital social infrastructure. Events such as Big Bangs and Reverse Big Bangs pair writers and artists to be inspired by and create for one another. Fanfiction exchanges resemble the Kula even more closely: participants create gifts for each other in a round-robin or Secret Santa format. Person A writes for Person B and receives from Person C. The gifts go in a circle – but they are not confined to it.

Tisha Turk observes:

‘...gifts within fandom are not simply given by distributed – and potentially, via links and reblogs, redistributed, sometimes well beyond the corner of fandom in which they first appeared. Fandom gifting is not just one-to-one but one-to-many.’

(‘Fan work: Labor, worth, and participation in fandom's gift economy’, 2014.)

In a fandom-adjacent space, there’s artfight.net: a month-long digital event that takes place every July. Participants upload their own original characters to the side, are divided into teams, and win points by drawing each other’s characters. The winning team is not that which has received the most, but that which has given the most.

(n.b. as I write, Art Fight is happening right now. GO TEAM TRAGEDY!)

How might we bring this energy to a computing space? FOSS software could be said to be its own gift economy, with developers freely giving their time and their labour to the community. However, as Henry Zhu mentions on the Maintainers Anonymous podcast, in conversation with Maggie Appleton:

‘You’re using it all the time, it becomes infrastructure. And so you don’t really think about it. And so that causes you to not really need to feel like you’re giving back.’

‘With open source you might not even know who works on the projects that you use… I’ve [given talks] and then people have no idea who I am but they know Babel… everyone has a username, you don’t really know them. It’s just some black box.’

(‘Open Source as a Gift Economy’, Maintainers Anonymous podcast, 2020.)

So some aspects of a gift economy are present – but social relationships are not being built in quite the same way.

Speaking for myself: HDSC naturally feels like a very gift-oriented space, but so much of that is rooted in the physical space we occupy together. So how, then, do we develop a culture of gift computing? Is the answer to create alternative networks, build an internet that is small and local? That would certainly be a good thing to do anyway - but it feels a little like a cop-out to me. I want gifts that travel through deep-sea cables, gifts that can travel great distances, gifts that defy the petty limits of borders and geography. I want to feel closer to you, no matter where you are.

'''Further Questions'''
* What gifts have you received that were particularly meaningful?
* Does a gift have to be a physical object?
* How does it feel to give or receive a gift?
* Does a gift come with responsibilities?
* Have you received a digital gift? What was it?
* What aspects of computing could be gifted? Hyperlinks, server space, domain names, websites, repairs?
* What would that look like?
* Would it work at a larger scale?
* What makes a gift ‘good’ or ‘bad’?
* What kind of structures encourage gifting?

'''Timeline:'''
* Introducing core concepts (10-15 mins)
* Group discussion (30 mins)
** What gifts have you received that were particularly meaningful?
** Does a gift have to be a physical object?
** How does it feel to give or receive a gift?
** Does a gift come with responsibilities?
** Have you received a digital gift? What was it?
** What aspects of computing could be gifted? Hyperlinks, server space, domain names, websites, repairs? What would that look like? Would it work at a larger scale?
** What makes a gift ‘good’ or ‘bad’?
** What kind of structures encourage gifting?
* Making bingo cards (30 mins)
* Communally working on gifts (1 hour)

'''Access Note:'''
* There was a guided but relatively freeform group discussion, with no set protocol for who should speak when. I was more than happy to work with any neurodivergent participants (or just those who find this difficult) to find ways to make it easier. We also made bingo cards, which involved writing and drawing. Participants were welcome to use laptops or phones for this instead.

'''Bio:'''

There is the open-and-shut closed loop of a transaction, and there is the circulatory logic of gifts. A gift carries a personal touch. It is given freely, but carries the possibility of paying it forward or reciprocating in kind. Gifting may be done as part of a wider structure, or for no reason at all. Taking inspiration from Lewis Hyde’s ‘The Gift: Imagination and the Erotic Life of Property’ and fandom gift economies, we will gather to discuss our own experiences of gifting, consider what gift computing might look like, and plot gifts for other campers.

Towards a Culture of Gift Computing

2026-10-30T15:17:35Z

Juliette:

{{Event
|Name=Towards a Culture of Gift Computing
|Location=H&D Studio
|Date=2026/07/17
|Time=16:00-18:30
|PeopleOrganisations=Florence
|Type=HDSC2026
|Web=Yes
|Print=No
}}
''This event was only for participants of the Summer Camp 2026 and not open to the public. For public events you could check: [[HDSC2026 Clouds to Commons Public Program]]''

[[File:HD workshops new15.jpg|600px]]

Drawing on Lewis Hyde’s ‘The Gift’ and fandom gift economies, we gathered to consider what gift computing could look like and how we could nurture a culture of gifting in our everyday lives.

Participants were welcome to bring their Laptops, as well as gifts!

<gallery>
gift3.JPG
gift1.JPG
gift2.JPG
gift4.JPG
gift5.JPG
gift6.JPG
</gallery>

''The following principles (and associated text) were taken from Lewis Hyde’s 1983 book ‘The Gift’. We read through them together; they are the foundation on which our discussion rests.''

==1. THE GIFT MUST ALWAYS MOVE.==

‘As it is passed along, the gift may be given back to the original donor, but this is not essential. In fact, it is better if the gift is not returned but is given instead to some new, third party. The only essential is this: the gift must always move.’ (p.29)

‘...unlike the sale of a commodity, the giving of a gift tends to establish a relationship between the parties involved. Furthermore, when gifts circulate within a group, their commerce leaves a series of interconnected relationships in its wake, and a kind of decentralized cohesiveness emerges.’ (p.23)

==2. THE GIFT MUST BE CONSUMED.==

‘...a gift must always be used up, consumed, eaten. The gift is property that perishes… Food is one of the most common images for the gift because it is so obviously consumed.’ (p.34)

‘In a gift exchange the transaction itself consumes the object. Now, it is true that something often comes back when a gift is given, but if this were made an explicit condition of the exchange, it wouldn’t be a gift.’ (p.35)

'In commodity exchange it’s as if the buyer and seller were both in plastic bags; there’s none of the contact of a gift exchange. There is neither motion nor emotion because the whole point is to keep the balance, to make sure the exchange itself doesn’t consume anything or involve one person with another.' (p.36)

==3. THE GIFT IS GIVEN IN SILENCE.==

‘A man may wonder what will come in return for his gift, but he is not supposed to bring it up. Gift exchange is not a form of barter… Partners in barter talk and talk until they strike a balance, but the gift is given in silence.’ (p.41)

‘When I give to someone from whom I do not receive (and yet I do receive elsewhere), it is as if the gift goes around a corner before it comes back. I have to give blindly. And I will feel a sort of blind gratitude as well.’ (p.43)

’…each donation is an act of social faith.’ (p.43)

Hyde also discusses the Kula gift exchange that takes place in the Trobriands, in Papua New Guinea – in which ceremonial armbands and necklaces are passed in a clockwise circuit around the islands, with nobody giving to the same person from whom they are receiving.

There is a natural comparison here with the gift economies of fandom – which also form a vital social infrastructure. Events such as Big Bangs and Reverse Big Bangs pair writers and artists to be inspired by and create for one another. Fanfiction exchanges resemble the Kula even more closely: participants create gifts for each other in a round-robin or Secret Santa format. Person A writes for Person B and receives from Person C. The gifts go in a circle – but they are not confined to it.

Tisha Turk observes:

‘...gifts within fandom are not simply given by distributed – and potentially, via links and reblogs, redistributed, sometimes well beyond the corner of fandom in which they first appeared. Fandom gifting is not just one-to-one but one-to-many.’

(‘Fan work: Labor, worth, and participation in fandom's gift economy’, 2014.)

In a fandom-adjacent space, there’s artfight.net: a month-long digital event that takes place every July. Participants upload their own original characters to the side, are divided into teams, and win points by drawing each other’s characters. The winning team is not that which has received the most, but that which has given the most.

(n.b. as I write, Art Fight is happening right now. GO TEAM TRAGEDY!)

How might we bring this energy to a computing space? FOSS software could be said to be its own gift economy, with developers freely giving their time and their labour to the community. However, as Henry Zhu mentions on the Maintainers Anonymous podcast, in conversation with Maggie Appleton:

‘You’re using it all the time, it becomes infrastructure. And so you don’t really think about it. And so that causes you to not really need to feel like you’re giving back.’

‘With open source you might not even know who works on the projects that you use… I’ve [given talks] and then people have no idea who I am but they know Babel… everyone has a username, you don’t really know them. It’s just some black box.’

(‘Open Source as a Gift Economy’, Maintainers Anonymous podcast, 2020.)

So some aspects of a gift economy are present – but social relationships are not being built in quite the same way.

Speaking for myself: HDSC naturally feels like a very gift-oriented space, but so much of that is rooted in the physical space we occupy together. So how, then, do we develop a culture of gift computing? Is the answer to create alternative networks, build an internet that is small and local? That would certainly be a good thing to do anyway - but it feels a little like a cop-out to me. I want gifts that travel through deep-sea cables, gifts that can travel great distances, gifts that defy the petty limits of borders and geography. I want to feel closer to you, no matter where you are.

'''Further Questions'''
* What gifts have you received that were particularly meaningful?
* Does a gift have to be a physical object?
* How does it feel to give or receive a gift?
* Does a gift come with responsibilities?
* Have you received a digital gift? What was it?
* What aspects of computing could be gifted? Hyperlinks, server space, domain names, websites, repairs?
* What would that look like?
* Would it work at a larger scale?
* What makes a gift ‘good’ or ‘bad’?
* What kind of structures encourage gifting?

Timeline:
* Introducing core concepts (10-15 mins)
* Group discussion (30 mins)
** What gifts have you received that were particularly meaningful?
** Does a gift have to be a physical object?
** How does it feel to give or receive a gift?
** Does a gift come with responsibilities?
** Have you received a digital gift? What was it?
** What aspects of computing could be gifted? Hyperlinks, server space, domain names, websites, repairs? What would that look like? Would it work at a larger scale?
** What makes a gift ‘good’ or ‘bad’?
** What kind of structures encourage gifting?
* Making bingo cards (30 mins)
* Communally working on gifts (1 hour)

'''Access Note:'''
* There was a guided but relatively freeform group discussion, with no set protocol for who should speak when. I was more than happy to work with any neurodivergent participants (or just those who find this difficult) to find ways to make it easier. We also made bingo cards, which involved writing and drawing. Participants were welcome to use laptops or phones for this instead.

'''Bio:'''

There is the open-and-shut closed loop of a transaction, and there is the circulatory logic of gifts. A gift carries a personal touch. It is given freely, but carries the possibility of paying it forward or reciprocating in kind. Gifting may be done as part of a wider structure, or for no reason at all. Taking inspiration from Lewis Hyde’s ‘The Gift: Imagination and the Erotic Life of Property’ and fandom gift economies, we will gather to discuss our own experiences of gifting, consider what gift computing might look like, and plot gifts for other campers.

Tmux2web2print (merged mind publishing)

2026-10-30T15:08:13Z

Juliette:

{{Event
|Name=tmux2web2print (merged mind publishing)
|Location=H&D Studio
|Date=2026/07/20
|Time=14:30-18:30
|PeopleOrganisations=Karen Czock
|Type=HDSC2026
|Web=Yes
|Print=No
}}
'''This workshop was open for kids (8–12 years old). Our pedagogical assistant Ayke (NL/ENG) was present to support the children throughout the workshop. If you wanted to rsvp: [mailto:info@hackersanddesigners.nl?subject=%5B%20HDSC2026%20KIDS%20PROGRAM%20%5D&body=Hello%2C%0A%0APlease%20sign%20us%20up%20for%20the%20Tmux2web2print%20workshop%20on%20the%2020th%20of%20July%0A%0AMy%20name%3A%20%0AMy%20age%3A%20%0AMy%20preferred%20pronouns%3A%20%0AMy%20access%20needs%3A%0A%0AMy%20Parent's%20Name%3A%20%0AMy%20MyMy%20Parent's%20preferred%20pronouns%3A%20%0AMy%20Parent's%20access%20needs%3A%0A%0AKind%20regards%2C send an email using this link]. '''
''Information you share with us is used only for communication and discarded after the event. More in our [[Privacy|Privacy text]] :)''

[[File:HD workshops new22.jpg|600px]]

How can we care for digital infrastructure together?

In this workshop, we slowly explored a shared terminal* by connecting to a shared server via SSH** as a way of maintaining a server collectively. We used tmux***, a tool that allows several people to merge into one user, navigating the command line collectively. Where people with different technical skills meet on a server, this setup requires slowness, patience and mutual understanding accross.

As we experimented together, our actions were automatically transformed into a live web publication—a conversation, a theatre script or documentation—which later was printed as a small zine.

Documenting what happens on the server is essential to share knowledge and enable each other, yet is often the first thing to disappear when something breaks or when there is too much to do. What happens if we make documentation a part of the maintenance process?

If you already had spent a lot of time in the terminal, with server maintenance or in collective work, you were warmly invited to bring your own practices, obscure commands or learnings about the relational aspects of maintaining shared digital infrastructure.

*a text-based way of interacting with a computer
**a way of connecting to another computer
***

<gallery>
tmux1.JPG
tmux2.JPG
tmux4.JPG
tmux5.JPG
tmux6.JPG
tmux8.JPG
tmux.png
tmux9.png
tmux10.png
</gallery>

'''Timeline:''' ideally around 3.5–4 hours!
* Introduction: Background/Skill levels (15 min)
* Basic concepts of the terminal, SSH (30 min)
* Creating SSH users, connecting to the server (15 min)
* Intro to tmux + setup (30 min)
* In groups (90 min)
** staring TMUX sessions
** Choosing an approach: exploring the server / trying out basic commands / discussing protocols / styling
* Printing
* Exchange about experiments and about experiences (30 min)

'''Material list:'''
* Participants: a computer

'''Access note:'''
* The workshop touched a lot of different technologies superficially (server, terminal, ssh, tmux, html, css) so it should be okay for you to stir in the unknown without in-depth explanations :)

'''Bio:'''

Karen Czock is a designer and programmer based in Hamburg, Germany, interested in collective infrastructures, their materiality and politics. In her work, Karen uses code as a tool for experimental publishing and collaborative learning.

File:Tmux9.png

2026-10-30T15:05:50Z

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2026-10-30T15:05:49Z

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2026-10-30T14:59:10Z

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Server Tempeh Dinner

2026-10-30T14:58:07Z

Juliette:

{{Event
|Name=Server Tempeh Dinner
|Location=H&D Studio
|Date=2026/07/20
|Time=19:00—21:00
|PeopleOrganisations=Kimberley Cosmilla, yeast.computer
|Type=HDSC2026
|Web=Yes
|Print=No
}}
<languages />
<translate>

[[File:HD program final4.jpg|600px]]


* The dinner took place at H&D Studio located at NDSM plein 127.
* [https://hackers-designers.weticket.io/hdsc2026-clouds-to-commons-server-tempeh-dinner/shop limited capacity, you had to make a reservation! 10€]
* If you had any allergies you could let us know at least a week in advance by sending an email to juliette@hackersanddesigners.nl
* Drinks were available on location on donation


'''Server tempeh''' is a project by yeast.computer and explores fermentation through residual data server heat. For its tempeh they work with Dutch heirloom beans, instead of the common soybean. In collaboration with Boonzaak, they are developing fermentation boxes that can be connected to a server's cooling system, re-routing the residual heat for the tempeh fermentation process. Tempeh requires a steady temperature of 30 degrees celsius during 30-40 hours for optimal fermentation, a temperature that is only artificially possible in The Netherlands. Rather than producing a carbon footprint akin to greenhouses, server tempeh uses the heat that is produced by heavy computing for fermentation. The fermentation boxes are installed at partner institutions that operate in-house servers, after which the tempeh is offered to employees, visitors, and nearby restaurants.


server tempeh is supported through Creative Industries NL through their initiative in renewing traditional craftsmanship.
https://yeast.computer/works/server-tempeh


Artist and chef '''Kimberley Cosmilla''' prepared a delicious dinner starring the server tempeh: a vegetarian version of Filipino dish Adobo!

<gallery>
radioday8-2.JPG
tempeh12.JPG
tempeh2.JPG
tempeh1.JPG
tempeh3.JPG
tempeh5.JPG
tempeh6.JPG
tempeh7.JPG
tempeh8.JPG
tempeh9.JPG
tempeh10.JPG
tempeh11.JPG
</gallery>

The dinner ended with a live radio show, where you can hear more about the Server Tempeh!

<htmltag tagname= "iframe" width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay; encrypted-media" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/soundcloud%253Atracks%253A2365730852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></htmltag>


'''Kimberley Cosmilla''' is an alumnus from the Gerrit Rietveld Academie (Graphic design, 2018) and the Piet Zwart Institute (Experimental publishing, 2023). She is an independent cultural worker, a cook, a program coordinator, and is involved in various experimental projects using publishing and cooking to build relationships and strengthen collective practices. Her panel of collaborators spans from public libraries and schools to organisations for health prevention, and fellow artists or artist collectives.


In September 2025, she co-initiated the project space Shsh Souvenir Shop (Amsterdam), a soon-to-open “souvenir shop” hiding an actually opened secret restaurant.


shshsouvenir.com


''This event is kindly supported by the [https://www.amsterdamsfondsvoordekunst.nl/ Amsterdam Fund for the Arts]''
</translate>

File:Radioday8-2.JPG

2026-10-30T14:57:52Z

Juliette: Uploaded with SimpleBatchUpload

Server Tempeh Dinner

2026-10-30T14:56:50Z

Juliette:

{{Event
|Name=Server Tempeh Dinner
|Location=H&D Studio
|Date=2026/07/20
|Time=19:00—21:00
|PeopleOrganisations=Kimberley Cosmilla, yeast.computer
|Type=HDSC2026
|Web=Yes
|Print=No
}}
<languages />
<translate>

[[File:HD program final4.jpg|600px]]


* The dinner took place at H&D Studio located at NDSM plein 127.
* [https://hackers-designers.weticket.io/hdsc2026-clouds-to-commons-server-tempeh-dinner/shop limited capacity, you had to make a reservation! 10€]
* If you had any allergies you could let us know at least a week in advance by sending an email to juliette@hackersanddesigners.nl
* Drinks were available on location on donation


'''Server tempeh''' is a project by yeast.computer and explores fermentation through residual data server heat. For its tempeh they work with Dutch heirloom beans, instead of the common soybean. In collaboration with Boonzaak, they are developing fermentation boxes that can be connected to a server's cooling system, re-routing the residual heat for the tempeh fermentation process. Tempeh requires a steady temperature of 30 degrees celsius during 30-40 hours for optimal fermentation, a temperature that is only artificially possible in The Netherlands. Rather than producing a carbon footprint akin to greenhouses, server tempeh uses the heat that is produced by heavy computing for fermentation. The fermentation boxes are installed at partner institutions that operate in-house servers, after which the tempeh is offered to employees, visitors, and nearby restaurants.


server tempeh is supported through Creative Industries NL through their initiative in renewing traditional craftsmanship.
https://yeast.computer/works/server-tempeh


Artist and chef '''Kimberley Cosmilla''' prepared a delicious dinner starring the server tempeh: a vegetarian version of Filipino dish Adobo!

<gallery>
tempeh1.JPG
tempeh2.JPG
tempeh3.JPG
tempeh5.JPG
tempeh6.JPG
tempeh7.JPG
tempeh8.JPG
tempeh9.JPG
tempeh10.JPG
tempeh11.JPG
tempeh12.JPG
</gallery>

The dinner ended with a live radio show, where you can hear more about the Server Tempeh!

<htmltag tagname= "iframe" width="100%" height="166" scrolling="no" frameborder="no" allow="autoplay; encrypted-media" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/soundcloud%253Atracks%253A2365730852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true"></htmltag>


'''Kimberley Cosmilla''' is an alumnus from the Gerrit Rietveld Academie (Graphic design, 2018) and the Piet Zwart Institute (Experimental publishing, 2023). She is an independent cultural worker, a cook, a program coordinator, and is involved in various experimental projects using publishing and cooking to build relationships and strengthen collective practices. Her panel of collaborators spans from public libraries and schools to organisations for health prevention, and fellow artists or artist collectives.


In September 2025, she co-initiated the project space Shsh Souvenir Shop (Amsterdam), a soon-to-open “souvenir shop” hiding an actually opened secret restaurant.


shshsouvenir.com


''This event is kindly supported by the [https://www.amsterdamsfondsvoordekunst.nl/ Amsterdam Fund for the Arts]''
</translate>

File:Tempeh11.JPG

2026-10-30T14:52:03Z

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