add glassblowers

content/glassblower/cristobalsciutto.md

@@ -1,5 +1,6 @@
 +++
-title = "Cristóbal Sciutto"
+title = "Cristóbal Sciutto Rodríguez"
 +++
 
-...
+Cristóbal Sciutto Rodríguez is a programmer and researcher concerned with
+technically simple, but compositionally complex infrastructures for living.

content/mirror/ubu.md

@@ -1,9 +1,10 @@
 +++
 title = "Stage: Everything Is Temporary"
-glassblowers = ["alessandroludovico.md", "cristobalsciutto.md", "custodiansonline.md", "marcellmars.md", "olgagoriunova.md", "sasasavanovic.md", "sreckohorvat.md", "tomislavmedak.md"]
+glassblowers = ["alessandroludovico.md", "cristobalsciutto.md", "custodiansonline.md", "dusanbarok.md", "felixstalder.md", "marcellmars.md", "nickthurston.md", "olgagoriunova.md", "sanjabojanic.md", "sasasavanovic.md", "sreckohorvat.md", "tomislavmedak.md"]
 has_reflections = ["endtimes.md", "relational.md", "cristobal.md"]
 +++
 
+
 # Ambient
 
 First, we are building an ambient, a (fictional) room filled with bookshelves. In that room, whenever you reach for a book, it is immediately clear why that book is there. It's a place where you could easily lose yourself by following a reference from some specific part of our collective publication. Or you could start by sitting inside the library and lose yourself in exploring all of the references on surrounding bookshelves.
@@ -31,3 +32,5 @@ We like to understand our notes as [shards](/shard/index.html). Shared shards. S
 ![](mirror:ubu.md). It's a single document describing our endeavor. A mirror is gradually built from reflections which are built from shards. This process is neither linear nor unidirectional. A shard could come from a spark kindled by a sentence being written in the mirror document or from a reflection. Forget about spark. This is the moment where metaphorical starts to ruin its purpose.
 
 We have a software platform which transforms this metaphorical play into a literal one. It is called [Sandpoints](https://pages.sandpoints.org/sandpoints/simplesandpoints-de47f813/draft/portfolio/). But let's forget about software for now. It will come in handy only when we need to accelerate what we agreed upon and set as our collective common ground. And for that we need to waste some time together. We couldn't imagine a better place than a renaissance palace on the Adriatic island of Cres. Once we are all in Cres you will totally get what we think by this ;)
+
+![](static/images/everythingistemporary.jpg)

content/shard/ai-audiblemirror-media.md

@@ -5,11 +5,11 @@ glassblowers = ["marcellmars.md"]
 
 # Prompt
 
-write an essay in the field of media theory introducing the concept of "audible mirror". here's the testimonial coming from the interview:
+> write an essay in the field of media theory introducing the concept of "audible mirror". here's the testimonial coming from the interview:
 
-"Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
+> "Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
 
-I call that an audible mirror."
+> I call that an audible mirror."
 
 # ChatGpt4 response
 

content/shard/ai-audiblemirror-politics.md

@@ -5,11 +5,11 @@ glassblowers = ["marcellmars.md"]
 
 # Prompt
 
-write an essay in the field of political theory introducing the concept of "audible mirror". here's the testimonial coming from the interview:
+> write an essay in the field of political theory introducing the concept of "audible mirror". here's the testimonial coming from the interview:
 
-"Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
+> "Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
 
-I call that an audible mirror."
+> I call that an audible mirror."
 
 # ChatGpt4 response
 

content/shard/ai-audiblemirror-theology.md

@@ -1,15 +1,15 @@
 +++
 title = "The Audible Mirror: Theological Reflections on Voice, Authenticity, and Self-Understanding"
-glassblower = ["marcellmars.md"]
+glassblowers = ["marcellmars.md"]
 +++
 
 # Prompt
 
-write an essay in the field of theology introducing the concept of "audible mirror". here's the testimonial coming from the interview:
+> write an essay in the field of theology introducing the concept of "audible mirror". here's the testimonial coming from the interview:
 
-"Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
+> "Sometime during my teenage years, I felt embarrassed about my singing voice and never dared to sing, not even when alone. I had some musical talent; I could play a few instruments and even played in a band. I made songs and arrangements, but I never handled the vocals. All of those experiences made my feelings about singing even worse. When I was 35, I tried a new setup: looping software, headphones, and a microphone. I was very quiet and shy, but in the middle of the night, when the city was in its deep sleep, I would mumble and eventually sing. The microphone would amplify it, the looping software would play it in an endless loop, and the headphones would keep it just for my ears. It worked. I realized how loud singing is, even when alone in a semi-public setting. You're supposed to be loud enough to hear yourself from the outside world. A little help from technology allowed me to be alone with myself, to explore my anxiety, feel safe, let myself experiment, and listen to my timid singing voice... Over time, I learned how to sing without trying to be loud. I love my quiet singing. That experience taught me many things about media, technology, and even politics. It brought me back to listening to music in a slightly different way than before. One of the things I started to do was to listen to vocals outside of the refrains. When people want to express their creativity and show off their great talent and breathtaking voice, they go for the most demanding refrains or choruses. Good for them. I learned that there's so much more in the world outside of the refrain territory.
 
-I call that an audible mirror."
+> I call that an audible mirror."
 
 # ChagGpt4 response
 

content/shard/dependency.md

@@ -1,6 +1,6 @@
 +++
 title = "dependency"
-glassblowers = ["cristobalsciutto.md"]
+glassblowers = ["olgagoriunova.md"]
 +++
 
 - on others

content/shard/enshittification.md

@@ -1,6 +1,6 @@
 +++
 title = "Enshittification"
-glassblower = ["felixstalder.md"]
+glassblowers = ["felixstalder.md"]
 +++
 
 A term [proposed](https://doctorow.medium.com/my-mcluhan-lecture-on-enshittification-ea343342b9bc) by Cory Doctorow in 2023, to make sense of why most of

content/shard/networked-space-and-time.md

@@ -0,0 +1,13 @@
++++
+title = "Networked space and time"
+glassblowers = ["alessandroludovico.md"]
++++
+
+Being embedded in of all kinds of networks, from the bureaucratic validation of out identities, civil rights and dislocation, to the private set of virtual entities which we seek/accept on social media.
+Still the essential networks we are in, are the relational one, those which create a small footprint in our existence, supporting it in some respects [1].
+To have this role, they express a relevance which is validated by the space and the time they enable outside the communication platforms.
+The network itself is a space and time extension and reconfiguration. The space is redefined, as it is a perceived endless global extension, reached after three decades of growth in infrastructure. In this dimension the relational space needs to be protected from the rest of induced engagement.
+The time is conditioned by that space perception, by the relational activities, and by the engagement in different modalities.
+We are then shaped by both, space and time perception, but the relational elements can let us define them in turn, rather than being defined by it.
+
+[1]: Latour, B. (2005). Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press. ISBN 9780199256044.

content/shard/underground.md

@@ -33,7 +33,7 @@ price of leaving the self-marginalization of the old underground
 paradigm as the subsumption under hegemonic communication protocols. For
 a while, this seemed like a fair trade-off.  As demands for
 profitability of the providers of protocols increased, the trade-off
-become worse → enshittification.
+become worse → ![](shard:enshittification.md).
 
 As the global infrastructures of mass self-communication are declining,
 and the search for alternatives has become stronger, the tension between