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Chargement/Site 2 + (The « At the school of Commons » … The « At the school of Commons » meeting has the goal of bringing in all sorts of creative people, activists and users of common goods, in order to help the exchange between these people and allow the development and social appropriation of the Commons. This contributes to the understanding, finding and preservation of the Commons.Organized by Communautique and Remix the Commons, and in collaboration with the Nycole Turmel chair on public spaces and political innovations at UQÀM, the event « At the school of Commons », on November the 2nd and 3rd 2012, was the first event of the project. Participants were able to exchange on political, legal, economic and cultural prerequisites needed for the rise of an economy of commons in the presence of international guests Michel Bauwens, founder of the P2P foundation, Lionel Maurel a.k.a. « Calimaq », founder of Savoircom1 and their Quebecois counterparts Ianick Marcil, independent economist and Stéphane Guidoin from OpenNorth. <H3>Futur development</H3> « At the school of Commons » is structured around bespoke meetings. A following meeting should be scheduled for autumn 2013. <H3>Collaborators</H3> The project is lead by Alain Ambrosi, supported by the Communautique team and Frédéric Sultan. <H3>Financing</H3> The project receives financial help from « Organisation Internationnale de la Francophonie » through « Remix the Commons ». <H3>The Contribution of Remix the Commons</H3> Remix the Commons served as an infrastructure, and placed itself as a resource to the project in Montreal. Networking was used to gather resources and speakers. Documents were produced. An attempt at a transcription was made.urce to the project in Montreal. Networking was used to gather resources and speakers. Documents were produced. An attempt at a transcription was made.)
Chargement/Site + (Video créée par Connor Turland po … Video créée par Connor Turland pour la campagne de collecte de fonds pour l’organisation du séminaire « Commons based economy » de Quilligan School of Commoning à LondresTexte de la vidéo : <blockquote>There are at least 2 major factors at play in the universe. For our purposes we’ll call them Unity … and Diversity. Generally today, we tend to you think that you just can’t have both. And consequently, as a human, you can’t be working towards both. You’re either working towards this. Or this. And that decides which camp you’re in, warring against the other. Predictably, this gets us a net progress of … NOWHERE. The same place that 1 dimensional, polaristic thinking is getting us. So what if we thought in another dimension. Collectively, what we’ve gained over here…we’ve lost over here. The Commons is the word that encompasses all those things that have been depleted to get us where we are today. We are rapidly depleting the social, cultural, intellectual, natural, genetic, and material commons. But can we replenish this… Without losing what we’ve gained? Frankly, millions of people, and institutions, businesses, and even countries already are. And whether everyone knows it or not, we all seem to be converging… On what? … we could call it a Commons-Based Economy. But time is of the essence! As other forces threaten to throw us into a worse dark age than ever. That’s why the people in this campaign are working tirelessly for me AND we to support the emergence of a commons-based economy. Help us help the world as we build a commons for the commons. That means learning resources, a learning platform, and sharing the vital work of James Quilligan, who just gave 12 seminars in 12 days on the emergence of a commons-based economy. It will take all of our collective intentions and intelligence to learn our way together towards the more beautiful world our hearts tell us is possible. To take the human project to the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>)
Chargement/Site 2 + (Video créée par Connor Turland po … Video créée par Connor Turland pour la campagne de collecte de fonds pour l’organisation du séminaire « Commons based economy » de Quilligan School of Commoning à LondresTexte de la vidéo : <blockquote>There are at least 2 major factors at play in the universe. For our purposes we’ll call them Unity … and Diversity. Generally today, we tend to you think that you just can’t have both. And consequently, as a human, you can’t be working towards both. You’re either working towards this. Or this. And that decides which camp you’re in, warring against the other. Predictably, this gets us a net progress of … NOWHERE. The same place that 1 dimensional, polaristic thinking is getting us. So what if we thought in another dimension. Collectively, what we’ve gained over here…we’ve lost over here. The Commons is the word that encompasses all those things that have been depleted to get us where we are today. We are rapidly depleting the social, cultural, intellectual, natural, genetic, and material commons. But can we replenish this… Without losing what we’ve gained? Frankly, millions of people, and institutions, businesses, and even countries already are. And whether everyone knows it or not, we all seem to be converging… On what? … we could call it a Commons-Based Economy. But time is of the essence! As other forces threaten to throw us into a worse dark age than ever. That’s why the people in this campaign are working tirelessly for me AND we to support the emergence of a commons-based economy. Help us help the world as we build a commons for the commons. That means learning resources, a learning platform, and sharing the vital work of James Quilligan, who just gave 12 seminars in 12 days on the emergence of a commons-based economy. It will take all of our collective intentions and intelligence to learn our way together towards the more beautiful world our hearts tell us is possible. To take the human project to the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>)
Chargement/Site + (Video that Connor created for the … Video that Connor created for the School of Commoning crowdfunding that allowed us to organize the Quilligan seminar series in London.Text : <blockquote>There are at least 2 major factors at play in the universe. For our purposes we’ll call them Unity … and Diversity. Generally today, we tend to you think that you just can’t have both. And consequently, as a human, you can’t be working towards both. You’re either working towards this. Or this. And that decides which camp you’re in, warring against the other. Predictably, this gets us a net progress of … NOWHERE. The same place that 1 dimensional, polaristic thinking is getting us. So what if we thought in another dimension. Collectively, what we’ve gained over here…we’ve lost over here. The Commons is the word that encompasses all those things that have been depleted to get us where we are today. We are rapidly depleting the social, cultural, intellectual, natural, genetic, and material commons. But can we replenish this… Without losing what we’ve gained? Frankly, millions of people, and institutions, businesses, and even countries already are. And whether everyone knows it or not, we all seem to be converging… On what? … we could call it a Commons-Based Economy. But time is of the essence! As other forces threaten to throw us into a worse dark age than ever. That’s why the people in this campaign are working tirelessly for me AND we to support the emergence of a commons-based economy. Help us help the world as we build a commons for the commons. That means learning resources, a learning platform, and sharing the vital work of James Quilligan, who just gave 12 seminars in 12 days on the emergence of a commons-based economy. It will take all of our collective intentions and intelligence to learn our way together towards the more beautiful world our hearts tell us is possible. To take the human project to the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>o the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>)
Chargement/Site 2 + (Video that Connor created for the … Video that Connor created for the School of Commoning crowdfunding that allowed us to organize the Quilligan seminar series in London.Text : <blockquote>There are at least 2 major factors at play in the universe. For our purposes we’ll call them Unity … and Diversity. Generally today, we tend to you think that you just can’t have both. And consequently, as a human, you can’t be working towards both. You’re either working towards this. Or this. And that decides which camp you’re in, warring against the other. Predictably, this gets us a net progress of … NOWHERE. The same place that 1 dimensional, polaristic thinking is getting us. So what if we thought in another dimension. Collectively, what we’ve gained over here…we’ve lost over here. The Commons is the word that encompasses all those things that have been depleted to get us where we are today. We are rapidly depleting the social, cultural, intellectual, natural, genetic, and material commons. But can we replenish this… Without losing what we’ve gained? Frankly, millions of people, and institutions, businesses, and even countries already are. And whether everyone knows it or not, we all seem to be converging… On what? … we could call it a Commons-Based Economy. But time is of the essence! As other forces threaten to throw us into a worse dark age than ever. That’s why the people in this campaign are working tirelessly for me AND we to support the emergence of a commons-based economy. Help us help the world as we build a commons for the commons. That means learning resources, a learning platform, and sharing the vital work of James Quilligan, who just gave 12 seminars in 12 days on the emergence of a commons-based economy. It will take all of our collective intentions and intelligence to learn our way together towards the more beautiful world our hearts tell us is possible. To take the human project to the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>o the next dimension, we need nothing less than a mass movement. Internet, your move.</blockquote>)
Chargement/Site + (Which governance for the « Remix … Which governance for the « Remix the commons » project and what governance model in the commons movement ? Lead by LARTES-IFAN, the coordination of governance worked on establishing a prototype of the governance charter and of the REMIX platform. It has produced two 12 minutes documentary films on experiments of conception and implementation of charters, one for a neighbourhood of Dakar and the other on the national Senegalese charter, as an exemplary process of creation of Common good. It has also gathered a number of resources and chosen links whether to ease a documentation need or to widen the opportunity of scientific collaborations in the area of the social economy and the Commons movement.<h3>Futur development</h3>Research on the use of governance charters are going on and will be elements of reflection to the commoners.<h3>Collaborators</h3>Abdou Salam Fall and Abdou Rahmane Seck, researchers at LARTES, Sénégal<h3>Financing</h3>the « Governance charters project » is part of the research work conducted by LARTES IFAN. It was partly financed by « Organisation Internationale de la Francophonie » through « Remix the commons »<h3>The contribution of « Remix the commons »</h3>« Remix the commons » is a meeting space for researchers and practitioners towards the development of governance practices based on commons.;p>« Remix the commons » is a meeting space for researchers and practitioners towards the development of governance practices based on commons.)
Chargement/Site 2 + (Which governance for the « Remix … Which governance for the « Remix the commons » project and what governance model in the commons movement ? Lead by LARTES-IFAN, the coordination of governance worked on establishing a prototype of the governance charter and of the REMIX platform. It has produced two 12 minutes documentary films on experiments of conception and implementation of charters, one for a neighbourhood of Dakar and the other on the national Senegalese charter, as an exemplary process of creation of Common good. It has also gathered a number of resources and chosen links whether to ease a documentation need or to widen the opportunity of scientific collaborations in the area of the social economy and the Commons movement.<h3>Futur development</h3>Research on the use of governance charters are going on and will be elements of reflection to the commoners.<h3>Collaborators</h3>Abdou Salam Fall and Abdou Rahmane Seck, researchers at LARTES, Sénégal<h3>Financing</h3>the « Governance charters project » is part of the research work conducted by LARTES IFAN. It was partly financed by « Organisation Internationale de la Francophonie » through « Remix the commons »<h3>The contribution of « Remix the commons »</h3>« Remix the commons » is a meeting space for researchers and practitioners towards the development of governance practices based on commons.;p>« Remix the commons » is a meeting space for researchers and practitioners towards the development of governance practices based on commons.)
Chargement/Site + (<ul> We invite you to participate in … <ul>We invite you to participate in the Commons Space which will be hosted at the the World Social Forum 2016 taking place from the 9th to the14th of August in Montreal. This is a space for experimentation, exchange and construction of commons based alternatives to the current economic model. This space will welcome and support the strategic process of convergence of commoners and social movements throughout the WSF. Here is the invitation.</ul><h3 class="spip">Commons…</h3>In 2009 at the Social Forum in Belem Chico Whitaker launched the Manifesto Reclaim the Commons which was adopted by members of the International Council of the WSF [<a class="spip_url spip_out auto" href="http://bienscommuns.org/signature/appel/index.php?a=du&c=nfg1de" rel="nofollow external">http://bienscommuns.org/signature/appel/index.php?a=du&c=nfg1de</a>]. Since then, social movements have adopted this cause. At the WSF in Dakar in 2011, Silke Helfrich reported on the increased visibility of workshops and activities sharing the theme of thecommons.[<a class="spip_url spip_out auto" href="http://commonsblog.wordpress.com/2011/02/15/wsf-dakar-shifting-from-the-logic-of-the-market-to-the-logic-of-the-commons/" rel="nofollow external">http://commonsblog.wordpress.com/2011/02/15/wsf-dakar-shifting-from-the-logic-of-the-market-to-the-logic-of-the-commons/</a>].In 2012, the commons was the central slogan of the People’s Summit in Rio calling « for Social and Environmental Justice in defense of the commons, against the commodification of life ».[<a class="spip_url spip_out auto" href="http://rio20.net/en/propuestas/final-declaration-of-the-people%E2%80%99s-summit-in-rio-20/" rel="nofollow external">http://rio20.net/en/propuestas/final-declaration-of-the-people%E2%80%99s-summit-in-rio-20/</a>] Again in 2012 on International Earth Day in Montreal at one of the biggest rallies of the « Printemps érable » (Maple Spring) protestors carried signs, flags and banners calling for the protection of the commons from privatization.Ideas and practices based on Commons, P2P, Open Cooperativism continue to grow and are being developed by activists in many areas : Social Solidarity Economy, Collaborative & Sharing Economy, resistance to enclosure such as land grabs, defending water as a commons,Struggles against financialization and Climate change to name but a few. Activists find each other at events and festivals dedicated to the commons, like Afropixel (Dakar, 2012), Pixelache Festival (Helsinki,, 2014), Art of Commoning (Montreal, 2014), International Festival of the Commons (Chieri, Italy, 2015), Festival Temps des communs (Francophonie, 2015), CommonsFest (Athens, 2015), Procomun (Barcelona, 2016), and many more.With a shared ambition to make another world possible activists are working together to develop commons based policies that deepen citizen participation. In local assemblies and civic laboratories, new spaces for civic engagement based on the commons are emerging. Commons are playing a leading role in the development of new thinking essential to the renewal of democracy.Sharing practices and building alliances for the defense and creation of the commons, Developing and sharing commons based policies for cities, regions and countries, Building a convergence of commoners through continued dialogue on shared causes and strategies with movements working on transition such as : Degrowth, Political Ecology, Social Solidarity Economy, etc.<h3 class="spip">Self organized and distributed Commons Space</h3>The Commons Space at the WSF in Montreal will be open for the duration of the forum to anyone or any organization that is concerned with the commons, and wants to organize a workshop or any activity.We propose a space in the spirit of the School of the Commons which aims at :<ul class="spip"><li>documenting and disseminating knowledge on the Commons based on shared experiences and learning.</li><li>to concretely support the creation, reappropriation or conservation of existing and emerging commons through actions or projects based on mutual assistance and commitment.</li><li>to develop the practice of Commoning based on creative and collaborative skills and as a way of life.</li></ul>There will be an open and flexible schedule to accommodate a variety of activities and topics including both pre-programmed events and space for impromtu sessions. Most importantly we wish invite you to participate in the assemblies and convergence sessions.The following topics have already been proposed :<ul class="spip"><li>Urban Commons/City as a Commons/Municipal Movements</li><li>The Common as a New Political Subject</li><li>Open/Platform Cooperativism</li></ul>The Commons Space will be open and distributed in Montréal, in collaboration with the coworking spaces in the city. Its headquarters will be located at ECTO, a coworking coop [<a class="spip_url spip_out auto" href="http://www.ecto.coop" rel="nofollow external">www.ecto.coop</a>] in the heart of creative Montreal. Other coworking spaces (Salon 1861, Temps libre) and inter-cultural places will host activities.The WSF is a unique opportunity to connect and work with activists from all over the world North/South/East/West to progress the cause of the Commons. This is an open call for proposals and activities. We invite you and your organisation to participate in co-organizing and facilitating the Commons Space. You can express your interest in participating and submit proposals for workshops, presentation, arts and cultural interventions simply by writing to the signatories of this announcement. To participate in discussion and to keep informed as the program of activities develops you can sign up to our mailing list.<a class="spip_url spip_out auto" href="http://lists.p2pfoundation.net/wws/review/wsf2016" rel="nofollow external">http://lists.p2pfoundation.net/wws/review/wsf2016</a>Looking forward seeing you in MTL<ul class="spip"><li>Frédéric Sultan [fredericsultan@gmail.com]</li><li>Yves Otis [yves@percolab.com]</li><li>Kevin Flanagan [kevin@p2pfoundation.net] – <a class="spip_url spip_out auto" href="http://blog.p2pfoundation.net/" rel="nofollow external">http://blog.p2pfoundation.net/</a></li><li>Elisabetta Cangelosi [betta.cangelosi@gmail.com]</li><li>Alain Ambrosi [ambrosia@web.ca]</li><li>Abdou Salam Fall [asfall@refer.sn]</li><li>Monique Chartrand [direction@communautique.qc.ca]</li></ul>This is an initiative of Gazibo, Remix the Commons, Communautique, LARTES, percolab, P2P Foundation, VECAM, and supported by the Foundation for Human Progress.l">http://blog.p2pfoundation.net/</a></li> <li>Elisabetta Cangelosi [betta.cangelosi@gmail.com]</li> <li>Alain Ambrosi [ambrosia@web.ca]</li> <li>Abdou Salam Fall [asfall@refer.sn]</li> <li>Monique Chartrand [direction@communautique.qc.ca]</li> </ul> This is an initiative of Gazibo, Remix the Commons, Communautique, LARTES, percolab, P2P Foundation, VECAM, and supported by the Foundation for Human Progress.)
Entretien avec Raoul Michel de Super Cafoutch + (Raoul Michel est membre du comité de gouve … Raoul Michel est membre du comité de gouvernance Super Cafoutch, supermarché coopératif et participatif à Marseille. Cela veut dire que les membres détiennent les parts sociales du supermarché et participent à toutes les tâches du magasin trois heures par mois. Le Super Cafoutch a pour objectif de proposer une gamme de produits du quotidien la plus large possible, tout en veillant à rester un commerce éthique, respectueux de l’environnement et qui privilégie l’économie locale par des circuits courts. Dans cet entretien Raoul nous raconte son parcours commencé avec le mouvement Slow Food. En outre il met en exergue les besoins et les difficultés qui ont accompagné la mise en place d'un supermarché coopératif, ainsi que les défis qui se posent aujourd'hui.i que les défis qui se posent aujourd'hui.)
Justice transitionnelle: l'expérience Marocaine + (Project Justice transitionnelle, l'expérie … Project Justice transitionnelle, l'expérience Marocaine aims to share videos about the process of transitional justice and community reparation and to preserve memory of victim communities during “the years of lead” in Morocco and what kinds of public hearings took place, in fact those hearings gave the highlight of an extensive process of citizen deliberation, compassion and free expression in Morocco. They also talked about lots of stories about how community reparation project aimed to improve the living conditions of the people in victim communities and empower them. In fact, those materials mainly focused on women and children.ials mainly focused on women and children.)

(Physical spaces comprised of publicly/privately held vacant lots in cities that allow neighborhood locals to grow food and plants, conduct urban greenery, and work together to achieve self sufficiency.)

Définition des communs selon Michel Bauwens (2013) + ("Basically for me the commons is leading y … "Basically for me the commons is leading your life and always thinking about how all other beings can benefit from it; so not only humanity but actually all living beings. So just yes it has to nourish yourself, but to do it in such a way that it also nourishes and spreads the benefits to more and more people. As opposed to the way it is supposed to work in our system which is simply as a question “how does it benefit me?”, and just hoping that somehow, indirectly, others may benefit from our selfishness. So I think we have to more directly pose the necessity and idea of everything we do has to create value for all living beings".as to create value for all living beings".)
Ici, ailleurs... la terre qui nous nourrit + (''Ici, ailleurs... la terre qui nous nourr … ''Ici, ailleurs... la terre qui nous nourrit'' suit l’itinéraire de Gavin, jeune maraîcher bio anglais qui travaille dans une ferme du sud de l’Angleterre. Confronté à la perte de ses terres agricoles, il prend conscience de la difficulté de trouver des terres pour développer des projets d’agriculture de proximité comme le sien. Il part alors à la rencontre d’autres fermiers européens qui ont eux aussi bataillé pour trouver des terres et les conserver dans la durée. Ce faisant, il rencontre des organisations qui se mobilisent pour préserver les terres nourricières et faciliter l’installation d’une nouvelle génération d’agriculteurs.Introduction très concrète à la question de l’accès à la terre en Europe, ce film offre le panorama d’un mouvement en émergence qui voit fermiers, citoyens et orgnisations de la société civile s’unir pour préserver des terres pour une agriculture et une alimentation de proximité et de qualité.Plus d'information : * http://www.accesstoland.eu/film-Land-for-our-food* http://www.accesstoland.eu/IMG/pdf/overview_-_the_land_for_our_food.pdfG/pdf/overview_-_the_land_for_our_food.pdf)
Land Rush - Why Poverty? + (75% of Mali's population are farmers, but … 75% of Mali's population are farmers, but rich, land-hungry nations like China and Saudi Arabia are leasing Mali's land in order to turn large areas into agribusiness farms. Many Malian peasants do not welcome these efforts, seeing them as yet another manifestation of imperialism. As Mali experiences a military coup, the developers are scared off - but can Mali's farmers combat food shortages and escape poverty on their own terms?ges and escape poverty on their own terms?)
Chargement/Site + (<blockquote> <div class="clearfix … <blockquote><div class="clearfix with-navigation">This post is a re-publication of the introduction of David Bollier’s blog from Monday 01/19/2015. David Bollier is presenting the report of a two-day workshop, “Toward an Open Co-operativism,” held in August 2014 in Germany. This post is translated in the French and available in the <a href="https://www.remixthecommons.org/fr/2015/01/the-promise-of-open-co-operativism-david-bollier/">French part of blog Remix The Commons</a>. You can read the introduction below and the original <a href="http://bollier.org/blog/promise-%E2%80%9Copen-co-operativism%E2%80%9D">there</a>. </div><div class="clearfix with-navigation"></div></blockquote><div id="main" class="clearfix with-navigation">Is it possible to imagine a new sort of synthesis or synergy between the emerging peer production and commons movement on the one hand, and growing, innovative elements of the co-operative and solidarity economy movements on the other?<div id="content" class="column"><div class="section"><div id="content-area"><div id="node-1138" class="node node-type-blog node-promoted build-mode-full clearfix"><div class="content">That was the animating question behind a two-day workshop, “Toward an Open Co-operativism,” held in August 2014 and now chronicled in <a href="http://bollier.org/open-co-operativism-report">a new report </a>by UK co-operative expert Pat Conaty and me. (Pat is a Fellow of the New Economics Foundation and a Research Associate of Co-operatives UK, and attended the workshop.)The workshop was convened because the commons movement and peer production share a great deal with co-operatives….but they also differ in profound ways. Both share a deep commitment to social cooperation as a constructive social and economic force. Yet both draw upon very different histories, cultures, identities and aspirations in formulating their visions of the future. There is great promise in the two movements growing more closely together, but also significant barriers to that occurring.The workshop explored this topic, as captured by the subtitle of the report: “A New Social Economy Based on Open Platforms, Co-operative Models and the Commons,” hosted by the Commons Strategies Group in Berlin, Germany, on August 27 and 28, 2014. The workshop was supported by the Heinrich Böll Foundation, with assistance with the Charles Léopold Mayer Foundation of France.Below, the Introduction to the report followed by the Contents page. You can download a pdf of the full report (28 pages) <a href="http://bollier.org/open-co-operativism-report">here.</a> The entire report is licensed under a Creative Commons Attribution-ShareAlike (BY-SA) 3.0 license, so feel free to re-post it.Read on <a href="http://bollier.org/blog/promise-%E2%80%9Copen-co-operativism%E2%80%9D">David Bollier’s blog </a></div></div></div></div></div></div>A) 3.0 license, so feel free to re-post it. Read on <a href="http://bollier.org/blog/promise-%E2%80%9Copen-co-operativism%E2%80%9D">David Bollier’s blog </a> </div> </div> </div> </div> </div> </div>)
Chargement/Site + (<blockquote> In the coming … <blockquote> In the coming months, three of the partners of Remix The Commons, LARTES, Communautique and VECAM, will initiate an experiment to formalize popular workshops for mapping the commons, develop tools and a free and open practice manual (FLOSS manual) for share this work with those who want the lead it in their own community. </ blockquote>Mapping Common in Africa (Cartographier les Communs en Afrique) is an initiative whose center of gravity is located in Senegal, between Saint Louis and Dakar. It is to design an ambitious and popular process of learning and empowering people on their commons. It mobilizes activists, intellectuals and researchers from different geographical and cultural backgrounds and disciplinary who share the ambition to rebuild commitment and citizen participation on public property.Commons are goods or things that do not belong to anyone in particular, but whose use is common to all, and management established on a cooperative and democratic basis, ie it allows each to take part in the development of rules and decisions that affect himself.Examine commons from the point of view of production of social and symbolic links, is questioning how men are all together human community and how by accident or necessity, they can show their capacity to know or not that they are trying to consolidate this link or to lose it, how they are able or not to build and take care of commons (Abdourahmane Seck).Based on the experiences and issues specific to the African continent, the Commons Mapping Project in Africa is to develop methods of interpretation and representation, including mapping, of the issues relative to the commons, to systematize and to organize their mutual enrichment in an open and collaborative base for the purpose of empowering people.This project will contribute to the networking of commoners in Africa, and to strengthen their interaction with the rest of the world, through the sharing of visions and practices and the contribution to the development of methods and tools for mapping the commons.Folow this work (in French) in the <a href="http://wiki.remixthecommons.org/index.php/Communs_en_Afrique">wiki</a> of Remix The Commons and read more in the <a href="https://www.remixthecommons.org/fr/2014/07/cartographier-…uns-en-afrique/">French version of this post</a>.ix The Commons and read more in the <a href="https://www.remixthecommons.org/fr/2014/07/cartographier-…uns-en-afrique/">French version of this post</a>.)
Chargement/Site + (<blockquote> Some experimen … <blockquote> Some experiments for mapping the commons, from the definitions and brief descriptions of commoning actions or initiatives, with an instance of Chimere installed by Frédéric Léon at Brest. Chimere allows to place on a maps « points of interest » as defined by their geographic coordinates, text + multimedia documents (video , audio, images). Points of interest can be classified into categories organized by families. Maps are defined by selections of geographical zones and categories. </ blockquote><iframe width='660' height='350' frameborder='0' scrolling='no' marginheight='0' marginwidth='0' src='http://remixthecommons.infini.fr/def-commons/simple'></iframe> <a target='_blank' href='http://remixthecommons.infini.fr/def-commons' rel="noopener noreferrer">Agrandir</a> – <a target='_blank' href='http://remixthecommons.infini.fr/def-commons/edit/' rel="noopener noreferrer">Participer</a>The first idea, starting this experiment was to locate on a map hundred of definitions of the commons made since the Berlin Conference of 2010, and look at how to use this medium as a collective means of expression on the notion of commons. For the test, a douzen of definitions is placed on the map. The integration of all the hundreds of available definitions give more card provided. They are searchable by language. Sorting by tag does not exist. It is the next step we are chalenging. It will allow to make more visible the « issues » generated on the Remix The Commons website. The integration of this map in the site remix is done by widget in a blog post or page. Eventually, the card could be powered by mashup multimedia services.Second experiment : <a href="http://remixthecommons.infini.fr/type-de-biens-communs">mapping documents of commoning practices</a> by category « types of commons » (only with the parents of the categories of Charlotte Hess’ classification, used on the web site Remix the Commons) . The maps can be made by geographical areas. <a href="http://remixthecommons.infini.fr/visages-des-communs">Here</a> a map of a few points in Quebec .Chimere freely allows the addition of new points of interest by users via <a href="http://remixthecommons.infini.fr/type-de-biens-communs/edit" target="_blank" rel="noopener noreferrer">a form</a> pretty simple. Each zone provides to the users a form that allows to classify points of interest by the category of the zone.At this level, it would be useful to complete chimere with elements such as a device of tags of points of interest, a synchronization of files on the map, a synchronization of the points of interest in the catalog of Remix the Commons.But to go further, it should be necessary to work on approaches of mapping the commons. The identification of resources is the first degree of a mapping of the commons. Should imagine mapping commons based modes of administration of resources, or models of distribution of property rights, or value systems attached to commoning practices and certainly other things.Frédéric Sultanng commons based modes of administration of resources, or models of distribution of property rights, or value systems attached to commoning practices and certainly other things. Frédéric Sultan)
Chargement/Site + (<blockquote>6 months after … <blockquote>6 months after the World Social Forum, our Documentation / Card Play tool on the commons is ready to circulate, to animate conversations and to help you to move the commons close to you!</blockquote><img decoding="async" loading="lazy" class="aligncenter size-medium wp-image-4621" src="https://www.remixthecommons.org/wp-content/uploads/2017/03/IMG_0071-1024x768-300x225.jpg" alt="IMG_0071-1024x768" width="800" height="600" />C@rds in Common is a game where 2 to 5 players collaborate to build a resilient civil society that defends the commons against the forces of monopolization. Apart from the pleasure of playing, C@rds in common was conceived as a means of documenting the presence of the commons at the Commons Space, an ephemeral encounter at the World Social Forum in Montreal in August 2016. The cards that composed the game were designed by volunteers who shared their vision and experience of the commons and the game mecanism designed by Mathieu Rhéaume and his team. This experience suggests that it would be possible to use the same approach and these methodological tools to document the commons in other local contexts, alike your neighborhood, or thematics as the commons of knowledge for example. We look forward to such experiments!To learn more about the game, have a look at the <a href="http://cartesencommun.cc">website</a>.The game is released on demand by The Game Crafter in the US for $ 22.99 each plus shipping and customs via: <a href="https://www.thegamecrafter.com/games/c-rds-in-common">https://www.thegamecrafter.com</a>To reduce shipping and customs for Europeans, we are launching a bulk order and hopefully this will bring the cost of each game delivered to Europe to around US $ 30/35.If you wish to participate in this first bulk order, fill in <a href="https://docs.google.com/forms/d/e/1FAIpQLSfVa7DsY3rbjkxPoui-KzHqpPtmhhV1_KBstEMebKWVceaPnQ/viewform?c=0&w=1">the form</a> before March 18th at 20:00 GMT.You will also have to pay an advance corresponding only to the price of the game(s) ordered. The remainder to be paid (port and customs) will be asked when the order is completed, when we will know the costs of postage and customs.Then, be patient! The group order will be initiated on 19 March and will arrive in Paris during the month of April. As soon as they arrive in Paris, the games will be mailed to their recipients.>Then, be patient! The group order will be initiated on 19 March and will arrive in Paris during the month of April. As soon as they arrive in Paris, the games will be mailed to their recipients.)
Chargement/Site + (<blockquote>E … <blockquote>Entrevue avec Joan Subirats(1) par Alain Ambrosi Mai 2018 </blockquote><blockquote>Joan Subirats est commissaire à la culture de la ville de Barcelone, dirigée par le groupe Barcelona en comu. Il est également professeur de sciences politiques à l’Universitat autonoma de Barcelona et fondateur de l’Institut sur la gouvernance et les politiques publiques (IGOP). Dans cette interview en anglais, il présente les enjeux de la politique culturelle pour la municipalité de Barcelone actuellement dirigée par Barcelona en Comù.</blockquote><figure style="width: 800px" class="wp-caption alignleft"><img decoding="async" loading="lazy" class="size-full" src="https://s1.qwant.com/thumbr/0x380/b/4/cf4cf4f48af794bc54dc5384e88975c9e7cd020dbccf80dc35882a989230be/joan%20subirats.jpg?u=http%3A%2F%2Fwww.fepsu.es%2Fimage%2Fjoan%2520subirats.jpg&q=0&b=1&p=0&a=1" alt="Joan Subirats (UAB) Conferencia FEPSU 2016" width="800" height="400" /><figcaption class="wp-caption-text">Joan Subirats (UAB) Conferencia FEPSU 2016</figcaption></figure>AA<ul>: In your recent article in La Vanguardia(2), you set out a framework for a cultural policy, you refer to putting into practice the key community values that should underpin that policy… Maybe we could start there?</ul>JS: For me, whereas in the 20th century the defining conflict was between freedom and equality – and this marked the tension between right and left throughout the 20th century because in a way this is the frame in which capitalism and the need for social protection evolved together with the commodification of life while at the same time the market called for freedom – ie: no rules, no submission. But the need for protection demanded equality. But in the 21st century there is rejection of the notion of protection linked to statism: Nancy Fraser published an article(3) in the New Left Review, it is a re-reading of Polanyi and she claims that this double movement between commodification and protection is still valid, but that the State-based protection typical of the 20th century, where equality is guaranteed by the State, clashes since the end of the 20th century with the growing importance of heterogeneity, diversity and personal autonomy. Therefore, if in order to obtain equality, we have to be dependent on what the State does, this is going to be a contradiction…. So we could translate those values that informed the definition of policies in the 20th century, in 21st century terms they would be the idea of freedom (or personal autonomy, the idea of empowerment, not subjection, non-dependence) and at the same time equality, but no longer simply equality of opportunities but also equality of condition because we have to compensate for what is not the same (equal) in society. If you say « equal opportunities », that everyone has access to cultural facilities, to libraries, you are disregarding the fact that the starting conditions of people are not the same, this is the great contribution of Amartya Sen, no? You have to compensate for unequal starting situations because otherwise you depoliticize inequality and consider that inequality is the result of people’s lack of effort to get out of poverty. So equality yes, but the approach is different. And we must incorporate the idea of diversity as a key element in the recognition of people and groups on the basis of their specific dignity. That seems easy to say, but in reality it is complicated, especially if you relate it to culture, because culture has to do with all these things: it has to do with the construction of your personality, it has to do with equal access to culture just as cultural rights and culture have to do with the recognition of different forms of knowledge and culture – canonical culture, high culture, popular culture, everyday culture, neighbourhood culture … So for me, a cultural policy should be framed within the triple focus of personal autonomy, equality and diversity. And this is contradictory, in part, with the cultural policies developed in the past, where there is usually confusion between equality and homogeneity. In other words, the left has tended to consider that equality meant the same thing for everyone and that is wrong, isn’t it?, because you are confusing equality with homogeneity. The opposite of equality is inequality, the opposite of homogeneity is diversity. So you have to work with equality and diversity as values that are not antagonistic, but can be complementary. And this is a challenge for public institutions because they do not like heterogeneity, they find it complicated because it is simpler to treat everyone the same, as the administrative law manual used to prescribe `indifferent efficiency’: it is a way of understanding inequality as indifference, right?AA<ul>: In your article you also talk about the opposition between investing in infrastructures versus creating spaces and environments that are attractive to creators and you put an emphasis on the generation of spaces. What is being done, what has been done, what could be done about this?</ul>JS : In Barcelona we want to ensure that the city’s cultural policies do not imply producing culture itself, but rather to try to influence the values in the production processes that already exist, in the facilities, in the cultural and artistic infrastructures: the role of the city council, of the municipality, is not so much to produce culture as to contribute to the production of culture. Which is different, helping to produce culture…. Obviously, the city council will give priority to those initiatives that coincide with the values, with the normative approach that we promote. There are some exceptions, for example, the Grec festival in Barcelona(4) in July, or the Mercé(5), which is the Festa Mayor, where the city council does in fact subsidize the production of culture, so some productions are subsidised but generally what we have is a policy of aid to creators. What is being done is that 11 creative factories (fablabs) have been built, these are factories with collectives that manage them chosen through public tenders. There are now 3 factories of circus and visual arts, 2 factories of dance creation, one factory of more global creation housed at Fabra & Coats, 3 theatre factories and 2 visual arts and technology sites. So there are 11 factories of different sorts and there are plans to create others, for example in the field of feminist culture where we are in discussion with a very well consolidated group : normally all these creative factories have their management entrusted to collectives that already become highly consolidated in the process of creation and that need a space to ensure their continuity. Often the city council will cede municipal spaces to these collectives, sometimes through public competitions where the creators are asked to present their project for directing a factory. This is one aspect. Another aspect is what is called living culture, which is a programme for the promotion of cultural activities that arise from the community or from collectives in the form of cooperatives and this is a process of aid to collectives that are already functioning, or occasionally to highlight cultural activities and cultural dynamics that have existed for a long time but have not been dignified, that have not been valued, for example the Catalan rumba of the Gypsies, which is a very important movement in Barcelona that emerged from the gypsy community of El Raval, where there were some very famous artists like Peret. There we invested in creating a group to work on the historical memory of the rumba, looking for the roots of this movement, where it came from and why. Then some signposts were set up in streets where this took place, such as La Cera in El Raval, where there are two murals that symbolise the history of the Catalan rumba and the gypsy community in this area so that this type of thing is publicly visible. That is the key issue for culture: a recognition that there are many different cultures.Then there is the area of civic centres: approximately 15% of the civic centres in the city are managed by civic entities as citizen heritage, and those civic centres also have cultural activities that they decide on, and the city council, the municipality helps them develop the ideas put forward by the entities that manage those centres.So, if we put all those things together, we could talk about a culture of the urban commons. It is still early stages, this is still more of a concept than a reality, but the underlying idea is that in the end the density and the autonomous cultural-social fabric will be strong enough to be resilient to political changes. In other words, that you have helped to build cultural practices and communities that are strong and autonomous enough that they are not dependent on the political conjuncture. This would be ideal. A bit like the example I often cite about the housing cooperatives in Copenhagen, that there was 50% public housing in Copenhagen, and a right-wing government privatised 17% of that public housing, but it couldn’t touch the 33% of housing that was in the hands of co-operatives. Collective social capital has been more resilient than state assets: the latter is more vulnerable to changes in political majorities.AA<ul>: You also speak of situated culture which I think is very important: setting it in time and space. Now Facebook has announced it is coming to Barcelona so the Barcelona brand is going to be a brand that includes Facebook and its allies. But your conception of a situated culture is more about a culture where social innovation, participation, popular creativity in the community are very important…</ul>JS : Yes, it seems contradictory. In fact what you’re asking is the extent to which it makes sense to talk about situated culture in an increasingly globalized environment which is more and more dependent on global platforms. I believe that tension exists and conflict exists, this is undeniable, the city is a zone of conflict, therefore, the first thing we have to accept is that the city is a battleground between political alternatives with different cultural models. It is very difficult for a city council to set out univocal views of a cultural reality that is intrinsically plural. Talking about situated culture is an attempt to highlight the significance of the distinguishing factors that Barcelona possesses in its cultural production. This does not mean that this situated culture should be a strictly localist culture – a situated culture does not mean a culture that cuts off global links – it is a culture that relates to the global on the basis of its own specificity. What is most reprehensible from my point of view are cultural dynamics that have a global logic but that can just as well be here or anywhere else. And it’s true that the platforms generate this. An example: the other day the former minister of culture of Brazil, Lluca Ferreira, was here and talked about a program of living culture they developed, and they posted a photograph of some indigenous people where the man wore something that covered his pubic parts but the woman’s breasts were naked. So Facebook took the photograph off the site, and when the Minister called Facebook Brazil to say ‘what is going on?’, they told him that they didn’t have any duty towards the Brazilian government, that the only control over them was from a judge in San Francisco and that, therefore, if the judge in San Francisco forced them to put the photograph back, they would put it back, otherwise they wouldn’t have to listen to any minister from Brazil or anywhere else. In the end, there was a public movement of protest, and they put the photo back. The same thing happened here a few days ago, a group from a municipal theatre creation factory put up a poster with a man’s ass advertising a play by Virginia Wolff and Facebook took their entire account off the net – not just the photograph, they totally removed them from Facebook. And here too Facebook said that they are independent and that only the judge from San Francisco and so on. I believe that this is the opposite of situated culture because it is a global cultural logic, but at the same time it allows itself to be censored in Saudi Arabia, in China, that is to say it has different codes in each place. So to speak of situated culture means to speak of social transformation, of the relationship between culture and social transformation situated in the context in which you are working. But at the same time to have the will to dialogue with similar processes that exist in any other part of the world and that is the strength of a situated culture. And those processes of mutuality, of hybridization, that can happen when you have a Pakistani community here, you have a Filipino community, you have a Chinese community, you have a Gypsy community, you have an Italian community, you have an Argentinean community: they can be treated as typical folkloric elements in a theme park, or you can try to generate hybridization processes. Now at the Festival Grec this year there will be poetry in Urdu from the Pakistanis, there will be a Filipino theatre coming and a Filipino film fest at the Filmoteca – and this means mixing, situating, the cultural debate in the space where it is happening and trying to steep it in issues of cultural diversity. What I understand is that we need to strive for a local that is increasingly global, that this dialogue between the local and the global is very important.AA<ul>: Returning to social innovation and popular creativity, social innovation is also a concept taken up pretty much everywhere: how is it understood here? Taking into account that in the world of the commons, Catalonia, and especially Barcelona, is very well known for its fablabs, which are also situated in this new era. How then do you understand social innovation and how do you see the relationship between education and social innovation?</ul>JS : What I am trying to convey is that the traditional education system is doing little to prepare people and to enhance inclusive logics in our changing and transforming society, so in very broad lines I would say that if health and education were the basic redistributive policies of the 20th century, in the 21st century we must incorporate culture as a basic redistributive policy. Because before, the job market had very specific demands for the education sector: it knew very well what types of job profiles it needed because there was a very Taylorist logic to the world of work – what is the profile of a baker, of a plumber, of a miller? How many years you have to study for this kind of work. There is now a great deal of uncertainty about the future of the labour market, about how people will be able to work in the future and the key words that appear are innovation, creativity, entrepreneurship, flexibility, ability to understand a diverse world, teamwork , being open to new ideas: this has little to do with traditional educational profiles, but it has much to do with culture, with things that allow you to acquire that backpack of basic tools that will help you navigate in a much more uncertain environment. And for me, to find the right connection between culture and education is very important because it allows the educational system to constantly transform itself by taking advantage of the creative potential of an environment that is much more accessible now than before because of new technologies, and therefore to make the transition from a deductive system where there is a teacher who knows and tells people what they need to know – to an inductive system: how do we explore what we need to know in order to be able to act. And that more inductive, more experimental logic has to do with creativity whereas the traditional education system didn’t postulate creativity, it postulated your ability to learn what someone else had decided you needed to study. It’s art, it is culture that allows you to play in that field much more easily … Translated from Spanish by Nancy Thede.1 Joan Subirats is Commissioner for culture in the city government of Barcelona led by the group Barcelona en comu. He is also professor of political science at the Universitat autonoma de Barcelona and founder of the Institute on Governance and Public Policy.2 « Salvara la cultura a las ciudades? », La Vanguardia (Barcelona), Culturals supplement, 12 May 2018, pp. 20-21. https://www.lavanguardia.com/cultura/20180511/443518454074/cultura-ciudadesbarcelona-crisis.html3 Nancy Fraser, « A Triple Movement », New Left Review 81, May-June 2013. Published in Spanish in Jean-Louis Laville and José Luis Coraggio (Eds.), La izquierda del siglo XXI. Ideas y diálogo Norte-Sur para un proyecto necesario Icaria, Madrid 2018.4 Festival Grec, an annual multidisciplinary festival in Barcelona, now in its 42nd year. It is named for the Greek Theatre built for the 1929 Universal Exhibition in Barcelona: http://lameva.barcelona.cat/grec/en/.5 Barcelona’s annual ‘Festival of Festivals’ begins on Sept 24, day of Our Lady of Mercy, a city holiday in Barcelona. It especially highlights catalan and barcelonian cultural traditions and in recent years has especially featured neighbourhood cultural activities like street theatre. See: https://en.wikipedia.org/wiki/La_Mercè.nnual ‘Festival of Festivals’ begins on Sept 24, day of Our Lady of Mercy, a city holiday in Barcelona. It especially highlights catalan and barcelonian cultural traditions and in recent years has especially featured neighbourhood cultural activities like street theatre. See: https://en.wikipedia.org/wiki/La_Mercè.)
Chargement/Site + (<blockquote>E … <blockquote>Entrevue avec Joan Subirats(1) par Alain Ambrosi Mai 2018 </blockquote><blockquote>Joan Subirats est commissaire à la culture de la ville de Barcelone, dirigée par le groupe Barcelona en comu. Il est également professeur de sciences politiques à l’Universitat autonoma de Barcelona et fondateur de l’Institut sur la gouvernance et les politiques publiques (IGOP). Dans cette interview en anglais, il présente les enjeux de la politique culturelle pour la municipalité de Barcelone actuellement dirigée par Barcelona en Comù.</blockquote><figure style="width: 800px" class="wp-caption alignleft"><img decoding="async" loading="lazy" class="size-full" src="https://s1.qwant.com/thumbr/0x380/b/4/cf4cf4f48af794bc54dc5384e88975c9e7cd020dbccf80dc35882a989230be/joan%20subirats.jpg?u=http%3A%2F%2Fwww.fepsu.es%2Fimage%2Fjoan%2520subirats.jpg&q=0&b=1&p=0&a=1" alt="Joan Subirats (UAB) Conferencia FEPSU 2016" width="800" height="400" /><figcaption class="wp-caption-text">Joan Subirats (UAB) Conferencia FEPSU 2016</figcaption></figure>AA<ul>: In your recent article in La Vanguardia(2), you set out a framework for a cultural policy, you refer to putting into practice the key community values that should underpin that policy… Maybe we could start there?</ul>JS: For me, whereas in the 20th century the defining conflict was between freedom and equality – and this marked the tension between right and left throughout the 20th century because in a way this is the frame in which capitalism and the need for social protection evolved together with the commodification of life while at the same time the market called for freedom – ie: no rules, no submission. But the need for protection demanded equality. But in the 21st century there is rejection of the notion of protection linked to statism: Nancy Fraser published an article(3) in the New Left Review, it is a re-reading of Polanyi and she claims that this double movement between commodification and protection is still valid, but that the State-based protection typical of the 20th century, where equality is guaranteed by the State, clashes since the end of the 20th century with the growing importance of heterogeneity, diversity and personal autonomy. Therefore, if in order to obtain equality, we have to be dependent on what the State does, this is going to be a contradiction…. So we could translate those values that informed the definition of policies in the 20th century, in 21st century terms they would be the idea of freedom (or personal autonomy, the idea of empowerment, not subjection, non-dependence) and at the same time equality, but no longer simply equality of opportunities but also equality of condition because we have to compensate for what is not the same (equal) in society. If you say « equal opportunities », that everyone has access to cultural facilities, to libraries, you are disregarding the fact that the starting conditions of people are not the same, this is the great contribution of Amartya Sen, no? You have to compensate for unequal starting situations because otherwise you depoliticize inequality and consider that inequality is the result of people’s lack of effort to get out of poverty. So equality yes, but the approach is different. And we must incorporate the idea of diversity as a key element in the recognition of people and groups on the basis of their specific dignity. That seems easy to say, but in reality it is complicated, especially if you relate it to culture, because culture has to do with all these things: it has to do with the construction of your personality, it has to do with equal access to culture just as cultural rights and culture have to do with the recognition of different forms of knowledge and culture – canonical culture, high culture, popular culture, everyday culture, neighbourhood culture … So for me, a cultural policy should be framed within the triple focus of personal autonomy, equality and diversity. And this is contradictory, in part, with the cultural policies developed in the past, where there is usually confusion between equality and homogeneity. In other words, the left has tended to consider that equality meant the same thing for everyone and that is wrong, isn’t it?, because you are confusing equality with homogeneity. The opposite of equality is inequality, the opposite of homogeneity is diversity. So you have to work with equality and diversity as values that are not antagonistic, but can be complementary. And this is a challenge for public institutions because they do not like heterogeneity, they find it complicated because it is simpler to treat everyone the same, as the administrative law manual used to prescribe `indifferent efficiency’: it is a way of understanding inequality as indifference, right?AA<ul>: In your article you also talk about the opposition between investing in infrastructures versus creating spaces and environments that are attractive to creators and you put an emphasis on the generation of spaces. What is being done, what has been done, what could be done about this?</ul>JS : In Barcelona we want to ensure that the city’s cultural policies do not imply producing culture itself, but rather to try to influence the values in the production processes that already exist, in the facilities, in the cultural and artistic infrastructures: the role of the city council, of the municipality, is not so much to produce culture as to contribute to the production of culture. Which is different, helping to produce culture…. Obviously, the city council will give priority to those initiatives that coincide with the values, with the normative approach that we promote. There are some exceptions, for example, the Grec festival in Barcelona(4) in July, or the Mercé(5), which is the Festa Mayor, where the city council does in fact subsidize the production of culture, so some productions are subsidised but generally what we have is a policy of aid to creators. What is being done is that 11 creative factories (fablabs) have been built, these are factories with collectives that manage them chosen through public tenders. There are now 3 factories of circus and visual arts, 2 factories of dance creation, one factory of more global creation housed at Fabra & Coats, 3 theatre factories and 2 visual arts and technology sites. So there are 11 factories of different sorts and there are plans to create others, for example in the field of feminist culture where we are in discussion with a very well consolidated group : normally all these creative factories have their management entrusted to collectives that already become highly consolidated in the process of creation and that need a space to ensure their continuity. Often the city council will cede municipal spaces to these collectives, sometimes through public competitions where the creators are asked to present their project for directing a factory. This is one aspect. Another aspect is what is called living culture, which is a programme for the promotion of cultural activities that arise from the community or from collectives in the form of cooperatives and this is a process of aid to collectives that are already functioning, or occasionally to highlight cultural activities and cultural dynamics that have existed for a long time but have not been dignified, that have not been valued, for example the Catalan rumba of the Gypsies, which is a very important movement in Barcelona that emerged from the gypsy community of El Raval, where there were some very famous artists like Peret. There we invested in creating a group to work on the historical memory of the rumba, looking for the roots of this movement, where it came from and why. Then some signposts were set up in streets where this took place, such as La Cera in El Raval, where there are two murals that symbolise the history of the Catalan rumba and the gypsy community in this area so that this type of thing is publicly visible. That is the key issue for culture: a recognition that there are many different cultures.Then there is the area of civic centres: approximately 15% of the civic centres in the city are managed by civic entities as citizen heritage, and those civic centres also have cultural activities that they decide on, and the city council, the municipality helps them develop the ideas put forward by the entities that manage those centres.So, if we put all those things together, we could talk about a culture of the urban commons. It is still early stages, this is still more of a concept than a reality, but the underlying idea is that in the end the density and the autonomous cultural-social fabric will be strong enough to be resilient to political changes. In other words, that you have helped to build cultural practices and communities that are strong and autonomous enough that they are not dependent on the political conjuncture. This would be ideal. A bit like the example I often cite about the housing cooperatives in Copenhagen, that there was 50% public housing in Copenhagen, and a right-wing government privatised 17% of that public housing, but it couldn’t touch the 33% of housing that was in the hands of co-operatives. Collective social capital has been more resilient than state assets: the latter is more vulnerable to changes in political majorities.AA<ul>: You also speak of situated culture which I think is very important: setting it in time and space. Now Facebook has announced it is coming to Barcelona so the Barcelona brand is going to be a brand that includes Facebook and its allies. But your conception of a situated culture is more about a culture where social innovation, participation, popular creativity in the community are very important…</ul>JS : Yes, it seems contradictory. In fact what you’re asking is the extent to which it makes sense to talk about situated culture in an increasingly globalized environment which is more and more dependent on global platforms. I believe that tension exists and conflict exists, this is undeniable, the city is a zone of conflict, therefore, the first thing we have to accept is that the city is a battleground between political alternatives with different cultural models. It is very difficult for a city council to set out univocal views of a cultural reality that is intrinsically plural. Talking about situated culture is an attempt to highlight the significance of the distinguishing factors that Barcelona possesses in its cultural production. This does not mean that this situated culture should be a strictly localist culture – a situated culture does not mean a culture that cuts off global links – it is a culture that relates to the global on the basis of its own specificity. What is most reprehensible from my point of view are cultural dynamics that have a global logic but that can just as well be here or anywhere else. And it’s true that the platforms generate this. An example: the other day the former minister of culture of Brazil, Lluca Ferreira, was here and talked about a program of living culture they developed, and they posted a photograph of some indigenous people where the man wore something that covered his pubic parts but the woman’s breasts were naked. So Facebook took the photograph off the site, and when the Minister called Facebook Brazil to say ‘what is going on?’, they told him that they didn’t have any duty towards the Brazilian government, that the only control over them was from a judge in San Francisco and that, therefore, if the judge in San Francisco forced them to put the photograph back, they would put it back, otherwise they wouldn’t have to listen to any minister from Brazil or anywhere else. In the end, there was a public movement of protest, and they put the photo back. The same thing happened here a few days ago, a group from a municipal theatre creation factory put up a poster with a man’s ass advertising a play by Virginia Wolff and Facebook took their entire account off the net – not just the photograph, they totally removed them from Facebook. And here too Facebook said that they are independent and that only the judge from San Francisco and so on. I believe that this is the opposite of situated culture because it is a global cultural logic, but at the same time it allows itself to be censored in Saudi Arabia, in China, that is to say it has different codes in each place. So to speak of situated culture means to speak of social transformation, of the relationship between culture and social transformation situated in the context in which you are working. But at the same time to have the will to dialogue with similar processes that exist in any other part of the world and that is the strength of a situated culture. And those processes of mutuality, of hybridization, that can happen when you have a Pakistani community here, you have a Filipino community, you have a Chinese community, you have a Gypsy community, you have an Italian community, you have an Argentinean community: they can be treated as typical folkloric elements in a theme park, or you can try to generate hybridization processes. Now at the Festival Grec this year there will be poetry in Urdu from the Pakistanis, there will be a Filipino theatre coming and a Filipino film fest at the Filmoteca – and this means mixing, situating, the cultural debate in the space where it is happening and trying to steep it in issues of cultural diversity. What I understand is that we need to strive for a local that is increasingly global, that this dialogue between the local and the global is very important.AA<ul>: Returning to social innovation and popular creativity, social innovation is also a concept taken up pretty much everywhere: how is it understood here? Taking into account that in the world of the commons, Catalonia, and especially Barcelona, is very well known for its fablabs, which are also situated in this new era. How then do you understand social innovation and how do you see the relationship between education and social innovation?</ul>JS : What I am trying to convey is that the traditional education system is doing little to prepare people and to enhance inclusive logics in our changing and transforming society, so in very broad lines I would say that if health and education were the basic redistributive policies of the 20th century, in the 21st century we must incorporate culture as a basic redistributive policy. Because before, the job market had very specific demands for the education sector: it knew very well what types of job profiles it needed because there was a very Taylorist logic to the world of work – what is the profile of a baker, of a plumber, of a miller? How many years you have to study for this kind of work. There is now a great deal of uncertainty about the future of the labour market, about how people will be able to work in the future and the key words that appear are innovation, creativity, entrepreneurship, flexibility, ability to understand a diverse world, teamwork , being open to new ideas: this has little to do with traditional educational profiles, but it has much to do with culture, with things that allow you to acquire that backpack of basic tools that will help you navigate in a much more uncertain environment. And for me, to find the right connection between culture and education is very important because it allows the educational system to constantly transform itself by taking advantage of the creative potential of an environment that is much more accessible now than before because of new technologies, and therefore to make the transition from a deductive system where there is a teacher who knows and tells people what they need to know – to an inductive system: how do we explore what we need to know in order to be able to act. And that more inductive, more experimental logic has to do with creativity whereas the traditional education system didn’t postulate creativity, it postulated your ability to learn what someone else had decided you needed to study. It’s art, it is culture that allows you to play in that field much more easily … Translated from Spanish by Nancy Thede.1 Joan Subirats is Commissioner for culture in the city government of Barcelona led by the group Barcelona en comu. He is also professor of political science at the Universitat autonoma de Barcelona and founder of the Institute on Governance and Public Policy.2 « Salvara la cultura a las ciudades? », La Vanguardia (Barcelona), Culturals supplement, 12 May 2018, pp. 20-21. https://www.lavanguardia.com/cultura/20180511/443518454074/cultura-ciudadesbarcelona-crisis.html3 Nancy Fraser, « A Triple Movement », New Left Review 81, May-June 2013. Published in Spanish in Jean-Louis Laville and José Luis Coraggio (Eds.), La izquierda del siglo XXI. Ideas y diálogo Norte-Sur para un proyecto necesario Icaria, Madrid 2018.4 Festival Grec, an annual multidisciplinary festival in Barcelona, now in its 42nd year. It is named for the Greek Theatre built for the 1929 Universal Exhibition in Barcelona: http://lameva.barcelona.cat/grec/en/.5 Barcelona’s annual ‘Festival of Festivals’ begins on Sept 24, day of Our Lady of Mercy, a city holiday in Barcelona. It especially highlights catalan and barcelonian cultural traditions and in recent years has especially featured neighbourhood cultural activities like street theatre. See: https://en.wikipedia.org/wiki/La_Mercè.nnual ‘Festival of Festivals’ begins on Sept 24, day of Our Lady of Mercy, a city holiday in Barcelona. It especially highlights catalan and barcelonian cultural traditions and in recent years has especially featured neighbourhood cultural activities like street theatre. See: https://en.wikipedia.org/wiki/La_Mercè.)
Chargement/Site + (<blockquote>A workshop < … <blockquote>A workshop <a href="http://mappingthecommons.net/">mapping the commons</a> will take place at Rio (Brazil) from 18 to 26 of october 2013, coordinated by <a href="http://hackitectura.net/">Pablo de Soto</a> with the collaboration of <a href="http://www.bernardogutierrez.es/">Bernardo Gutiérrez</a> and the support of MediaLab (Madrid).</blockquote><iframe loading="lazy" width="400" height="225" src="//www.youtube.com/embed/Nrtbi9gbuWw?rel=0" frameborder="0" allowfullscreen></iframe>Mapping the commons was developed by Pablo Soto. This initiative aims to produce with inhabitants, activists in the place, living maps, consisting of short video documentaries and vidéoposts. The proposed approach takes the form of an intense multi-day workshop with communication students and activists to find the Commons, define and make them visible in the territory by producing media that form the map.Pablo Soto initiated this approach around urban commons of <a href="http://mappingthecommons.net/map-of-istanbul-commons/">istanbul</a> and <a href = "http://mappingthecommons.net/map-of-athens-commons/"> Athens </ a>. See the work done about <a href="http://mappingthecommons.net/taksim-square/"> Taksim Square </a>, whose privatization was one of the starting points of protest in Turkey this year. The mapping is a strategic tool. To research of the urban commons is a process of mapping the space, that Pablo Soto understand « as proposed by Deleuze and Guattari, and used many artists and activists during the last decade, as a <a href="http://cartografiaciudadana.net/athenscommons/auto.php"> performance</a> which can be thinking, artistic work, or social change ».On 20 March 2013, a wikisprint was performed in Barcelona using the same principles and methodology . Under the title » Global P2P » , it was to map Common practices and P2P in Latin America and southern Europe. See in English <a href=" http://codigoabiertocc.wordpress.com/2013/08/07/globalp2p-the-wind-that-shook-the-net/"> # GlobalP2P , the wind that shook the net </a>.Rio next step Mapping the commons is one of the cities that comes from living like the rest of Brazil, an intense social and political mobilization against international festivities that tend to <a href= "http:// scinfolex.wordpress.com/?s=Olympic"> privatize public space </a>. Many consider these mobilizations, their claims and modes of organization fall within the paradigm of Commons. See analysis on the subject of Bernardo Gutierrez in <a href="http://blogs.20minutos.es/codigo-abierto/2013/05/23/globalp2p-el-viento-que-desordeno-las-redes/">el viento that desordeno las redes</a> and Alexandre Mendes in <a href ="http://uninomade.net/tenda/a-atualidade-de-uma-democracia-das-mobilizacoes-e-do-comum/"> A atualidade uma das democracia mobilizacoes do comum e</a>.To go further , we recommand to read the article <a href="http://www.academia.edu/2637017/Mapping_the_Commons_Workshop"> Mapping the Commons Workshop: Athens and Istanbul </a> , Pablo De Soto, Daphne Dragona , Aslihan Şenel , Demitri Delinikolas José Pérez de Lamalt;p>To go further , we recommand to read the article <a href="http://www.academia.edu/2637017/Mapping_the_Commons_Workshop"> Mapping the Commons Workshop: Athens and Istanbul </a> , Pablo De Soto, Daphne Dragona , Aslihan Şenel , Demitri Delinikolas José Pérez de Lama)