#institucional racism

[raging-guanche]

i love how according to my white teachers me opening a bit my eyes and telling my teacher to please not interrump my job and asking my classmates if they could stop making noises, if they know what noises can provoke in me (autism woohoo) is AGRESSIVE and THREATENING, cause im fucking medusa or something.

but oh, my whole class joking and screaming to me about bombing north African countries and calling moroccan people slurs and wishing their dead for DAYS, that's just their age, they're inmature.

tell me again white privilege doesn't exist.

[elfinaldelcamino]

5. Cultura Bastarda Oriental

5.1. Rasheed Araeen

A l'assaig de Hammad Nasar Notes from the Field (2015) conec l'obra i figura del productor cultural conceptual, escultor, pintor, escriptor i activista paquistanès resident a Londres Rasheed Araeen (1935). Amb l'exposició The Other Story (1989) va sembrar la polèmica a l'opinió pública britànica pel frontal rebuig del cànon cultural europeu, que mantenia amagada darrera polítiques culturals neoimperialistes la producció cultural afroasiàtica a la seva història de l'art. De manera impactant i provocadora, Araeen advocava per una descolonització cultural des del cor d'Europa.

Rascheed Araeen

Entre la seva obra destaca per a la meva recerca sobre producció cultural bastarda la performance Paki Bastard: Portrait of the Artist as a Black Person (1977). Políticament compromès, Racheed Araeen desafia la monoculturalitat institucional eurocentrista parlant de racisme, justícia social, identitat i alteritat en el context d'una Gran Bretanya que es preparava per escollir les polítiques neocapitalistes de Margaret Thatcher (1979-1990).

5.2. Naomi Kawase

La directora cinematogràfica Naomi Kawase (1969), abandonada pels seus pares essent un infant, inicià la seva filmografia dins el gènere documental amb el film Ni tsutsumarete («Als seus braços», 1992), on exposa la cerca del pare.

La filiació és un tema recurrent a la seva obra, destancant Genpin (2010), documental sobre el part natural en què mort i naixement s'entrecreuen amb plaer i dolor on la productora documenta l'infantament del seu propi fill.

Fotograma de Genpin. Naomi Kawasi (2010)

5.3. Elogi de la creativitat anònima

Jiddu Krishnamurti (1895-1986) va deixar orfes de pare espiritual els adeptes de l'Ordre de l'Estrella d'Orient, fundada el 1911 per proclamar l'adveniment de l'Instructor del Món, amb ell mateix com a màxim dirigent. El 1929, va dissoldre l'Ordre a davant tres mil dels seus membres amb un discurs després titulat La veritat no té camins.

Tot seguit, va dedicar la vida a l'oratòria en viatges que el van portar arreu del món. Aprofundí de manera oral en variats problemes filosòfics i espirituals, amb el tema central de la revolució de la psique, segons ell a l'abast de la Humanitat.

A un dels seus últims discursos a Ojai, Califòrnia, el 1980, contesta a la pregunta

What is true creativity and how is it different from that which is so considered in popular culture?

(Què és la creativitat veritable i de quina manera és diferent d'allò considerat talment a la cultura popular?)

La seva resposta, carregada en reflexió, planteja com és d'habitual donar per fet que la creativitat convencional, basada en l'acumulació de coneixement i abastament influïda pel context sòcio-cultural per proposar la possibilitat d'un tipus de creativitat diferent, que brolli de la llibertat de la ment, sense pressió ni condicionament social. Aquesta creativitat, afirma, és inherent a tots els éssers humans i no només als professionals o reconeguts com a tal, i, des de l'anonimat, és essencial per possibilitar que la creativitat convencional faci realitat els seus projectes.

Enllaç al text del discurs recollit a www.jkrishnamurti.org

[planta-alta]

We are back with the third trip of CARAVANA, the newspaper of Planta Alta. A common space that brings together, proposes and moves forward but also stops and wonders about the journey. In this case, taking advantage of the fact that hablarenarte has turned 20 years old, we are thinking about the political implications of the concept of celebration. By asking ourselves what are we celebrating, we want to contribute to unleash affective currents connected to the festive.

With all this in mind, in the Critical Resistance section we have the valuable contributions of Maral Kekejian, iki yos piña narváez and the Queen of the Anthropocene (Fran Quiroga).

In the section dedicated to our residency programmes we present three stories that delve into the importance of pleasurable and critical forms of encounter. Los Dragones de Lavapiés chant a gooooooooooaaaaal to anti-racism, police violence and speculation in our neighborhoods; Silvia Teixeira brings the partying knowledge of the communal people of the Leonese mountain; Taller Placer brings us a reading of the night that is not the expected one, a kind of dark knowledge on which the party does not have a monopoly.

As an untenable counterpoint, we have included a presentation of the TEJA program in this CARAVANA. TEJA is an initiative of Planta Alta that, together with other residency spaces, institutions, artists and allies, seeks to provide shelter and support to artists in emergency situations or affected by armed conflicts, such as the Russian invasion of Ukraine. We include in this issue a visual map of this ecosystem woven by many hands and that we want to celebrate.

As a gift and sparkle, La Más Bella offers us a confetti / hat / pennant / song that runs through cut-outs and fold-outs of the period between 2002 and 2041. An invitation to the manual, performative and jovial gesture dedicated to hablarenarte and to all things that mutate.

We conclude this issue with a visual report by Diego del Pozo, who was invited to share a dinner with many of the colleagues who have worked at the association over the years. Reminiscing, savoring, remembering, recalling together minimal stories of the hablarenarte that was and projecting the one that is to come.

You can download your copy of CARAVANA here.

Curatorial edition: hablarenarte (Carlos Almela and Flavia Introzzi)

Graphic design: Amalia Ruiz-Larrea

* * *

Volvemos con el tercer viaje de CARAVANA, el periódico de Planta Alta. Un espacio común que aglutina, propone y avanza pero también se detiene y se pregunta por el recorrido. En este caso, aprovechando que hablarenarte ha cumplido 20 años, nos interpela el sentido político de la celebración. Sentimos alicaído lo festivo en este tiempo post-pandémico que es ya casi una condición. Preguntándonos ¿qué estamos celebrando? queremos contribuir a desatar las corrientes afectivas del festejo.

Para ello contamos en el apartado de Resistencia Crítica con las valiosas contribuciones de Maral Kekejian, de iki yos piña narváez y la Reina del Antropoceno (Fran Quiroga).

En el apartado dedicado a nuestro programa de residencias presentamos tres relatos que profundizan sobre la importancia de formas de encuentro placenteras y críticas. Los Dragones de Lavapiés corean un gooooooooool al antirracismo, las violencias policiales y la especulación en nuestros barrios; Silvia Teixeira aporta el saber festejar de los comunales de la montaña leonesa; Taller Placer nos trae una lectura de la noche que no es la que se espera, una suerte de conocimiento oscuro sobre el cual la fiesta no tiene el monopolio.

A modo de insostenible contrapunto, hemos incluido una presentación del programa TEJA en este CARAVANA. TEJA es una iniciativa de Planta Alta que, junto con otros espacios de residencias, instituciones, artistas y aliadas, busca dar cobijo y apoyo a artistas en situación de emergencia o afectados por conflictos armados, como la invasión rusa a Ucrania. Incluimos en este número un mapa visual de este ecosistema tejido a muchas manos y que queremos celebrar.

Como obsequio y destello, La Más Bella nos proponen un confeti / sombrero / banderín / canción que recorre entre recortables y desplegables el periodo que separa el 2002 del 2041. Una invitación al gesto manual, performativo y jovial dedicado a hablarenarte y a todas las cosas que mutan.

Concluimos este número con una relatoría visual de Diego del Pozo, invitado a compartir una cena con muchas de las compañeras que han impulsado la asociación a lo largo de estos años. Rememorar, saborear, recordar, convocar juntas historias mínimas del hablarenarte que fue y proyectar el que está por venir.

Puedes descargar tu ejemplar de CARAVANA aquí.

Comisariado editorial: hablarenarte (Carlos Almela y Flavia Introzzi)

Diseño gráfico: Amalia Ruiz-Larrea

Imprenta: Grupo Nuevas Formas Gráficas

Este periódico se realiza con el apoyo de la subvención a espacios independientes de creación contemporánea del Ayuntamiento de Madrid en la convocatoria 2022-2023.

[mnoguesa12]

Punt de partença

Tens coneixements sobre sociologia? I si es així, on i com els has adquirit?

Sobre sociologia explícitament no. Ara bé, sí que vaig cursar una assignatura d'Antropologia al Grau de Musicologia, on sovint es tractaven temes que potser podríem incloure dins la disciplina sociològica, com ara bé, els models de família, les segregacions urbanes, el racisme desenvolupat a través del multiculturalisme, així com els diferents mètodes d’estudi que s’utilitzen – quantitatius i qualitatius-.  El professor sovint, complementava les seves explicacions amb exemples centrats en les societat occidentals actuals, pertanyents a l’estudi dels sociòlegs.

Expectatives de l'assignatura

Va esdevenir un fet inèdit i xocant que, la Universitat de Barcelona proposés la implementació d'una assignatura de Sociologia davant d'una societat sovint reticent a la reflexió i tímid envers el pensament crític, més enllà del que podia escoltar o llegir als mitjans de comunicació, que reiteraven el fet de contemplar al professorat com el responsable del fracàs educatiu, creant una narrativa al voltant d'aquesta figura focalitzada en preservar la creença que el professorat de secundària només exerceix per la remuneració econòmica que rep a final de cada mes i pels múltiples dies de vacances que li concedeix el seu contracte. Dit això, crec que és una necessitat dur a terme una assignatura del Màster que ens permeti establir lligams entre els orígens de l'educació escolar i que ens apropi al món de l'adolescència, tot incidint en aspectes que sovint a la societat passen de llarg, com ara com convergeixen les desigualtats socials a l'àmbit educatiu o com encara avui dia, hi ha escoles que perpetuen la segregació sigui per nivell socioeconòmic, de raça o de sexe. Per tant, davant de l'enfrontament d'aquesta assignatura només em queda plantejar-me unes expectatives per comprovar a final de semestre si aquestes s'han complert. Inicialment, les expectatives que em plantejo són:

Entendre com es conforma la societat avui dia i, com això es trasllada a les aules. Per exemple, durant l'adolescència es fa evident que s'estableixen diferents grups formats a través dels gustos musicals, la vestimenta que utilitzen, etc. Això, a la societat adulta, sovint no és tan evident. Per què? Quins són els factors que determinen si pertanys a un grup o un altre? I si no estàs a cap, què succeeix?

L'escola esdevé un reflex de la societat. Així doncs, entendre les desigualtats socials ens permetrà aproximar-nos a les desigualtats educatives. Espero i desitjo que l'assignatura profunditzi en el sistema educatiu i les classes socials i com aquesta es relaciona amb el fracàs escolar i l'abandonament prematur de l'escolarització.

El poder. Les institucions com a poder. Crec que aquesta assignatura em permetrà conèixer tot el poder o no que tenen les institucions educatives en la societat i com el fet d'haver assolit l'ESO o no condiciona les oportunitats laborals posteriors.

Els mitjans de comunicació. El gran tema quan parlem de joves adolescents. Tinc l'expectativa que aquesta assignatura m'apropi a les problemàtiques que pateixen els joves derivades de l'ús de les tecnologies o de l'exposició forçosa a la qual estan sotmesos a través dels mitjans de comunicació.

[parrots-not-in-london-anymore]

Touché, motherfuckers

[the-empress-7]

It bothered me intensely to wake up to all three major RF’s IG accounts wishing Archie happy birthday considering Princess Charlotte and Price Louis only got a CH story for example. But, I think I know why they did it: CH for instance reposted the original pics. When they post a picture themselves, they stick to pictures already released and to giving credits to photographers they agreed to in the first place.

Hence, they diminish their ability to milk their birthday wishes for money at the same time they avoid any claims of “institucional racism” from them because they took the high road.

Quite clever if you ask me.

Thanks. I agree it was clever.

[sourthensweetx3]

This couldn’t be more true

[spanishlaw]

🇪🇸Día internacional contra el racismo, nada que celebrar, sigamos luchando y digamos NO al racismo social e institucional. ❗Cuándo veamos verdaderos cambios, entonces Sí podremos celebrar este día. 🚫Si ves un acto de discriminación racial cerca de ti, no te calles, actúa! 🇬🇧All human beings are equal in dignity and rights and have the ability to contribute constructively to the development and well-being of society. 💪🏾I'm not better than you, you are not better than me. We are in this together, let's fight together against any kind of discrimination. #diainternacionalracial #internationalracismday #jourinternacionalracisme #jfabogadoss #tolerancia0 #racismo #racism #racisme #picoftheday #postdujour #diainternacional #barcelona #gerona #españa #covid_19 #alllivesmatter #blacklivesmatter #fightracism #21marzo (en Girona, Spain) https://www.instagram.com/p/CMrX4VKDWfW/?igshid=emss3x9tbl10

[fuckyeahanarchistposters]

[Estado español] Materiales contra el nacionalismo: carteles, panfleto y pegatinas

Editados carteles, panfleto y pegatinas contra el nacionalismo en todas sus expresiones. La propaganda se distribuirá por diversos puntos del Estado español. Es una campaña abierta a todo aquel que quiera sumarse. Dejamos los PDF con el diverso material para aquel que quiera distribuirlo. En la ciudad de Madrid se dejará el grueso del material en el Local Anarquista Motín.

Panfleto:

NINGÚN ESTADO NOS HARÁ LIBRES

Ningún Estado, español o catalán, nos dará ninguna clase de libertad. Porque la razón de ser de todo Estado es someter a lxs explotadxs y garantizar los privilegios de las clases dirigentes. El Estado reglamenta la explotación mediante la Ley y se encarga de asegurar que lxs oprimidxs nunca se levanten contra un orden nos explota, humilla, desahucia, entristece, roba y asesina a lo largo y ancho del planeta.

Ninguna policía, Mossos, Guardia Civil o Nacional nos protege. Son la fuerza de choque del Estado que protege la propiedad privada y son los encargados de reprimir y perseguir a aquellxs que no se arrodillan y deciden luchar contra su podrido mundo. No hay policía buena o policía mala, todos los cuerpos represivos obedecen a una lógica muy concreta: mantener el orden. No olvidemos la actuación de cualquier fuerza policial en huelgas generales, manifestaciones, en las redadas en los barrios, en los controles racistas, vigilando las cárceles, en los desahucios y desalojos e, incluso, como fuerza de ocupación extranjera (recordemos la cantidad de policías desplegados en misiones internacionales). Obedecen y sirven a sus amos.

La Democracia, las instituciones parlamentarias y los políticos no velan por nuestros intereses, sino por los suyos propios. Nadie más que nosotrxs mismxs debería velar por nuestros intereses. Elegir a nuestros amos, votar, someternos a mayorías y/o minorías, actuar dentro de los marcos democráticos… nos convierte en cómplices de nuestra propia dominación e instaura en nosotrxs el espíritu de la delegación en profesionales. Ponemos nuestras vidas en sus manos. Confiar en políticos que solo buscan (como todos) rentabilizar nuestras luchas y nuestros sentimientos, mientras nos someten o aspiran a someternos, hace que nos convirtamos en una masa servil presta a movilizarse o desmovilizarse según sus intereses electorales y sus luchas por el Poder.

Ningún nacionalismo o ninguna bandera deberían representarnos. Como oprimidxs y explotadxs deberíamos entender que tenemos más en común con cualquier otrx explotadx u oprimidx que con un empresario o político que haya nacido en el mismo lugar que nosotrxs. El nacionalismo y el patriotismo son herramientas del Poder con el cual infectar y manipular a lxs oprimidxs y hacerles bailar al son de los opresores para vincularnos con nuestros enemigos de clase y sus proyectos y necesidades, siempre cambiantes. El cariño a la tierra en la que vivimos o a nuestra lengua nos son arrebatados para justificar la creación de nuevos estados. Obviando así que, la cultura, debería ser algo vivo, en constante evolución y libre desarrollo entre individuos y comunidad. El Estado es la muerte de todo libre desarrollo, construyendo fronteras y sembrando las semillas del racismo y la xenofobia.

Bajo el capitalismo, el Estado y cualquier forma de autoridad nunca seremos libres. Construyamos un mundo nuevo sobre las ruinas de la sociedad autoritaria y estatal. Construyamos y luchemos por la anarquía, como combate constante contra toda forma de opresión y explotación, en solidaridad y apoyo mutuo con nuestros iguales, vengan de donde vengan.

¡NI NACIONES NI FRONTERAS!

Panfleto en PDF versión imprimir

__________________________________________________

No State Will Make Us Free

No State, Spanish or Catalan, will give us any kind of freedom. Because the reason of being for every State is to subject the exploited and to guarantee the privileges of the ruling classes. The state regulates exploitation via the law and is responsible for ensuring that the oppressed never rise up against an order that exploits, humiliates, evicts, steals, murders and creates misery throughout the length and breadth of the planet.

No police, Mossos (Catalan police), Civil or National Guard protects us. They are the shock force of the state that protects private property and are responsible for repressing and persecuting those who do not kneel and decide to fight against their rotten world. There are no good police or bad police, all repressive bodies obey a very specific logic: maintain order. Let’s not forget the actions of all police forces in general strikes, demonstrations, neighborhood raids, racist controls, surveillance of prisons, evictions and even as a force of foreign occupation (remember the number of police officers deployed for international missions). They obey and serve their masters.

Democracy, parliamentary institutions and politicians do not look after our interests, but their own interests. No one but ourselves should look after our interests. Electing our masters, voting, submitting to majorities and / or minorities, acting within democratic frameworks…makes us complicit in our own domination and establishes in us the spirit of delegation in officials. We put our lives in their hands. Relying on politicians who only seek (as they all do) to profit from our struggles and our feelings, while submitting us or aspiring to submit us, makes us become a servile mass ready to mobilize or demobilize according to their electoral interests and their struggles for power.

No nationalism or flag should represent us. As the oppressed and exploited we should understand that we have more in common with the other oppressed and exploited than with an entrepreneur or politician who was born in the same place as us. Nationalism and patriotism are tools of power which infect and manipulate the oppressed and make them dance to the tune of the oppressors and bond with our class enemies and their constantly changing projects and needs. The affection for the land in which we live or our language are taken away to justify the creation of new states. Obviously, culture should be something living, in constant evolution and free development between individuals and communities. The state is the death of all free development, building borders and sowing the seeds of racism and xenophobia.

Under capitalism, the state and any form of authority, we will never be free. Let us build a new world on the ruins of authoritarian and state society. Let us build and fight for anarchy, as a constant struggle against all forms of oppression and exploitation, in solidarity and mutual support with our equals, no matter where they come from.

NO NATIONS! NO BORDERS!

[worshipcircle01]

FINALLLYYYY!!!

I'M NOT ALONEEE!!!

XDDDDD!!!!!!!!

Literally, not more than a month ago, when saying something like this there were some fans that call me sociopath.

First of all: Jedi Order are NOT simply a religious order, that were asesinated for their believes. They are a institucionalized political actor. Like @string-bean-requiem says, having the power to intervine in matters like slavery, they choose not to do so. They, instead, do intervine in trade problems in Naboo, in the defense of a Royal house. By the way, when they found out about the clone army, they could have chosen not to participate in to the enslave of another people, but no, they decide "magnanimously" place themselves as Generals, using the clones as meat for the army. In all of this, they act against everything that they supossed to stand in their religion even. Therefore, religious, its a secondary trait for them in those times. They are a political group.

That made even debatable the term genocide applyed to them. Yes, they were victims of war crimes, according to the International Court and the Rome Statute but not under the legal figure of genocide.

That its not the same as to say that Palpatine is innocent. He is a mass murderer. But theres a difference between, for example, what happens during holocaust and what happen during the finalization of the war with the separatist.

The indoctrination that people during the first endure, in which, by different means the jewish population was targeted as "undesirable" and from the state itself was constructed a process of extermination, didn't happen in the Republic. The Jedi were not targeted for their religious aspects. They were targeted for their political actions, even when Palpatine have that as key foundation for his revenge.

One could say, without lectures on the matter, that are the same situation, but no, they aren't. Antisemitism is the core foundation of the nazi laws (that were agreed, voted and sanctioned for the germans), while there isn't and "anti jedism" in Star Wars. They are not targeted for their religion, they are targeted for their "crimes" as political actors, they are labeled as war criminals, but what happens after with Vader and their inquisitors is more a paramilitary organization actions and not a state institutionalized procedure. There is not a legal construct such as the Nuremberg laws against the Jedi.

However, what happens with the clones, its genocide. They are a racial group, who its subject to enslavery, to regulared birth, incarceration, forced transportation and forced work on the battle field and even destruction of the group as a whole.

Both the Republic (in which the Jedi are a political actor) and the Empire, participate in a institucionalized plan of enslavery and destruction of the clones.

And, please, do not resort to the wasted line of: "but they killed children when they killed the Jedi", because, people, the clones also were children, and they were enslaved by the Republic and the Jedi, to become soldiers in a war, they didn't choose to participate (without forgetting the little tiny problem around the kids apropiation by the Jedi order itself, which in our world, its a crime, agravated, actually, if a religious institution do it).

Obviously, that image goes against everything that made us love the Jedi, specially when you share ethnical characteristics with them. It's difficult to see them as "bad guys" or even to critize them on their evident flaws and mistakes, when they aestethically are, even, the representation of what we have been teached to see as "good". But when one grows up in a country and a world that have still the consequences of racism and colonization, the Jedi, resound different. Yes, we still love some of them, but, as whole... they are not so easy to defend or to overlook in their flaws, mistakes and even crimes.

Yeah I’ve seen this weird, warped interpretation of Jedi Criticals and I think they’re getting it from like ‘wouldn’t blame the Clones if they HAD legitimately rebelled’ but like slaves rising up against some of their masters is completely different contextually from a targeted genocide. Plus the Clones would've only fought to get away, not to exterminate. Totally different.

Exactly! And considering a lot of the people who're pro-clone are people of color, some notable fans being African American, the inability to understand or remotely empathize why some people would dislike the Jedi is very, VERY telling.

Especially since the Jedi Order has been, for years, represented by white blue eyed protagonist. It's as if the moral flaws and failing of the Jedi order are put out there for fans to see, yet they just turn their noses up at them.

And you're absolutely right, the clones wouldn't kill the Jedi. They're not animals. But it's weird how the Jedi, who enable slavery, are seen as victims as opposed to the clones, the actual slaves.

It's like, maybe people dislike the Jedi because their religious undertones and their compliance in slavery sparks some generational trauma in some of us? Some ancestral trauma, you know?

That the genocide of clone culture and autonomy is overlooked in an attempt to paint the Jedi as the only tragedy of Order 66, when an entire clone culture, already being squashed by the Republic, was wiped out within seconds due to Anakin's and the entire Councils negligence to do a extensive investigation to protect their men?

The religious allusions of the Jedi Order and their compliance in clone slavery wreaks of the Catholic Church and its missionaries enslaving and forcefully converting people of color.

The allusions are very, very disturbing.

[glottaling-too]

character set, character setting

The notion of "character sets" is fundamental to typography. Open any book on typography, and the term "character set" will be deployed throughout, particularly in the definitions of the various specific words that compound the vocabulary used in this literature.

For example, in "Typographic Design: Form and Communication" (Carter et al, 2015):

A font is a set of characters of the same size and style containing all the letters, numbers, and marks needed for typesetting. A typographic font exhibits structural unity when all the characters relate to one another visually. The weights of thick and thin strokes must be consistent, and the optical alignment of letterforms must appear even. The distribution of lights and darks within each character and in the spaces between characters must be carefully controlled to achieve an evenness of tone within the font. In some display faces, the font might include only the twenty-six capital letters. In a complete font for complex typesetting, such as for textbooks, it is possible to have nearly two hundred characters. The font for Adobe Garamond (Fig. 2-17) includes the following types of characters: Lowercase; Capitals, Small caps; Lining figures; Old Style figures; Superior and inferior figures; Fractions; Ligatures; Digraphs; Mathematical signs; Punctuation; Accented characters; Dingbats; Monetary symbols.

Typographic Design: Form and Communication (Carter et al, 2015:35)

Same book, in the glossary:

Font. A complete set of characters in one design, size, and style. In traditional metal type, a font meant a particular size and style; in digital typography, a font can output multiple sizes and even altered styles of a typeface design.

Typographic Design: Form and Communication (Carter et al, 2015:327, Glossary)

The term "character set" is accompanied by the properties that define the set: Size; Style, Structural unity; Visual relation; Weight; Thickness; Consistency; Optical alignment; Tone; Evenness; Consistency; Spacing; Lights-and-darks; Control. And also the number of characters within the set, "only the twenty-six capital letters" or "nearly two hundred". And there are also the types of characters, which are, in a way, sets within the set: Lowercase; Capitals, Small caps; Lining figures; Old Style figures; Superior and inferior figures; Fractions; Ligatures; Digraphs; Mathematical signs; Punctuation; Accented characters; Dingbats; Monetary symbols.

In the second passage cited above, it becomes clear that different typographic technologies define the "completeness" of a set (in the figure of the "font") in different ways. It seems to be related to how easy it is, within that technology, to "choose a different font". In metal type, a font is a case (like a drawer), containing type of a particular style and size. For typesetting, this case (a font) has to be pulled out from the cabinet, and placed in the typesetting area at the typographers' arm's length. A different size will be found in a different case, hence, it is a different font. In digital typography, a font is a file that comes with different sizes within in it. By installing the font file, all sizes (and sometimes variations such as bold, italic) will be there, programmed, in the same file (perhaps the digital equivalent of the drawer?).

In The Elements of Typographic Style (Bringhurst, 2004[1992]) we find that a font is "a set of sorts of glyphs" and that a glyph is "an incarnation of a character" or "a version — a conceptual, not material, incarnation — of the abstract symbol called a character" in which the material incarnation would be the sort. This, again, points to the relationship between how these "sets of sorts of glyphs" or "character sets" are technology-dependent. In Bringhurst, this is clear in two passages,

Font. A set of sorts of glyphs. In the world of metal type, this means a given alphabet, with all its accessory characters, in a given size. In relation to phototype, it usually means the assortment of standard patterns forming the glyph palette, without regard to size, or the actual filmstrip or wheel on which these patterns are stored. In the world of digital type, the font is the glyph palette itself or the digital information encoding. (Bringhurst, 2004:325)

In each technology, a "font" means something different. I want to highlight this because there is no "character set" without "set characters" (as in "characters being set"). A character set is a process, an assemblage / arrangement / agencement: it needs to be made, it needs setting. Quite visibily in "typesettings" in which the types are made to become a set just for the fact that they ended up together in a page, for example, but al the other process of character-setting: the making of the set of a typeface, the way it's arranged in each machine, the availability (how easy it is to access it), these are also processes of character settings / setting characters.

Other notes

I haven't found a definition of "character set". In The Elements of Typographic Style (Robert Bringhurst, 2004[1992] In Appendix C: Glossary of Terms), for example, we find that a font is "a set of sorts of glyphs" and a glyph is an incarnation of a character, but there isn't a definition of "character" (This is, however a "glossary of characters", in which typographic symbols (alphabetic and analphabetic) are listed, named, described.

In Appendix C: Glossary of Terms:

Font. A set of sorts of glyphs. In the world of metal type, this means a given alphabet, with all its accessory characters, in a given size. In relation to phototype, it usually means the assortment of standard patterns forming the glyph palette, without regard to size, or the actual filmstrip or wheel on which these patterns are stored. In the world of digital type, the font is the glyph palette itself or the digital information encoding. (Bringhurst, 2004:325)

Glyph. An incarnation of a character. See sort. (Bringhurst, 2004:326)

Sort. A single piece of metal type; thus a letter or other character in one particular style or size. In the world of digital type, where letters have no physical existence until printed, the word sort has been largely displaced by the word glyph. A glyph is a version — a conceptual, not material, incarnation — of the abstract symbol called a character. Thus, z and z* are alternate glyphs (in the same face) for the same character. (Bringhurst, 2004:331— *z com calda.)

Analphabetic. A typographic symbol used with the alphabet but lacking a place in the alphabetical order. Diacritics such as the acute, umlaut, circumflex and caron are analphabetics. So are the asterisk, dagger, pilcrow, comma and parentheses. (Bringhurst, 2004:321)

There is a whole chapter on "Analphabetic Symbols" ((Bringhurst, 2004. Chapter 7, 75-92)

Resourcessfulness. The use of analphabetic symbols as linguistic repertoire,

Approached through the scribal and typographic tradition, the palette of analphabetic symbols is much more supple and expressive than it appears through the narrow grill of the typewriter keyboard. A typographer will not necessarily use more analphabetic symbols per page than a typist. In fact, many good typographers use fewer. But even the most laconic typographer learns to speak this sign language with an eloquence that conventional editing software, like the typewriter, seems to preclude.

(Bringhurst, 2004:75. In 5. Analphabetic Symbols; 5.1 Analphabetic style.)

The visible invisibility of the marks of punctuation, which is essential to their function, depends on these details. So, therefore, does the visible invisibility of the typeface as a whole. In the republic of typography, the lowliest, most incidental mark is also a citizen.

(Bringhurst, 2004:77)

Symbols that make it to the usual character set, based on availability?

Typographers got by quite well for centuries without quotation marks. In the earliest printed books, quotation was marked merely by naming the speaker — as it still is in most editions of the Vugate and King James Bibles. In the High Renaissance, quotation was generally marked by a change of font: from roman to italic or the other way around. Quotation marks were first cut in the middle of the sixteenth century, and by the seventeenth, some printers liked to use them profusely. In books from the Baroque and Romantic periods, quotation marks are sometimes repeated at the beginning of every line of a long quotation. When these distractions were finally omitted, the space they occupied was frequently retained. This is the origin of the indented block quotation. Renaissance block quotations were set in a contrasting face at full size and full measure.

(Bringhurst, 2004:86)

Typographic ethnocentricity, institucionalized in the workings of machines,

Typography was once a fluently multilingual and multicultural calling. The great typographer of the fifteenth and sixteenth centuries worked willingly with North Italian whiteletter, Italian or German blackletter, French script, Ashkenazi and Sephardic Hebrew, orthotic and cursive and chancery Greek. The best typographers of the twentieth century have followed their lead. But typographic ethnocentricity and racism also have thrived in the last hundred years, and much of that narrow-mindedness is institutionalized in the workings of machines. Unregenerate, uneducated fonts and keyboards, defiantly incapable of setting anything beyond the most rudimentary Anglo-American alphabet, are getting scarcers but are still not difficult to find.

(Bringhurst, 2004:89-90)

The luxury of creating special characters, possible in the seventeenth century and now,

Recent digital technology [the book was first published in 1992] has made it possible for any typographer to create special character on demand — a luxury most have been without since the seventeenth century. Prepackaged fonts of impeccable design, with character sets sufficient to set any word or name in any European and many Asian languages, and the software to compose and kern these characters, are also now available even to the smallest home and desktop operations. Yet there are large-circulation newspapers in North Americal still unwilling to spell correctly even the names of major cities, composers and statesmen, or the annual list of winners of the Nobel Prize, for fear of letters like ñ and é.

(Bringhurst, 2004:90)

Advice on remapping the font or keyboard, 

5.5.2 Remap the font driver and keyboard to suit your own requirements [the book was first published in 1992]

The conventional computer keyboard includes a number of characters - @ # ^ + = { } | \ ~ < > - rarely required by most typesetters, while frequently needed character, such as the en dash, em dash, acute accent, midpoint and ellipsis, are nowhere to be seen. Unless your keyboard fits your needs as is, remap it. It should give you ready access to whatever accented and analphabetic characters you regularly use.

Unless your composition software places ligatures automatically, you may find it easiest to insert them through a substitution routine after the text is fully set. Some typorraphers, howerver, (and I am one of them) prefer to rearrange their fonts or keyboards so that all the basic ligatures are accessible directly from the keyboard, as they are on a Monotype machine. Open and close quotes can also be inserted through substitution routines, but most typing and typesetting software will insert them automatically. (This means, of course, that in words or names such as Dutch ’s-Hertogenbosch or Navajo ’Áshᶖᶖh ’Asdzáán, the software will always make the wrong choice, which the typographer must then correct by hand — or through yet another search-and-replace routine.)

Compositors who seldom use accented characters often prefer to set them through mnemonic codes, using a function key that momentarily redefines the keyboard. Software that operates in this way may produce ó from the combination o + /, r from r + v, U from U + o, and so on . But if you use accented characters with any frequency, you may find it worth your while to map them directly to the keyboard. One way to do this is to install the standard prefabricated keyboards for each language you may need. This, however, requires swapping from one to another as different languages or even different names come up in multilingual text, and it requires you to memorize a lot of different layouts. Another solution is to create a custom keyboard (or even several keyboards) that will meet your own particular requirements.

(Bringhurst, 2004:90-91)

[kiro-anarka]

El lunes más de 1.600 empleados de Google firmaron una petición interna en la que le piden a la gerencia de la empresa que deje de vender su software a la Policía. Las demandas de los empleados se dan el marco de las protestas que exigen justicia por los hechos de violencia racial en los Estados Unidos, después de una serie de asesinatos contra afroamericanos, incluido el presunto asesinato de Ahmaud Arbery, un hombre negro desarmado para correr en el condado de Glynn, Georgia, y los asesinatos de George Floyd en Minneapolis y Breonna Taylor en Louisville, Kentucky, ambos desarmados. «Estamos decepcionados de saber que Google todavía está vendiendo a las fuerzas policiales, y anuncia su conexión con las fuerzas policiales como si fuera de alguna manera progresiva, y busca ventas más expansivas en lugar de cortar los lazos con la Policía y unirse a los millones que quiere desarmar y desfinanciar estas instituciones «, se puede leer en la petición, que comenzó un grupo de empleados de Google llamado Googlers Against Racism (Googlers en contra del racismo) la semana pasada y está dirigida a Sundar Pichai, CEO de Alphabet (la empresa matriz de Google). «¿Por qué ayudar a las i

[meetingpointproject]

Black lives matter

George Floyd. El darrer assassinat racista per part d'un policia a la ciutat de Minneapolis als EEUU, ha posat sobre la taula el racisme institucional no tan sols als Estats Units sinó també a la resta del món. S'han repetit durant diverses setmanes, mobilitzacions arreu del planeta en record a George Floyd i contra les violències racistes.Molts de joves de Salt s'han concentrat els darrers dies pels carrers de Salt i Girona, exigint que s'acabin comportaments i practiques racistes, tant en l'àmbit social com en l'àmbit institucional.

[sagabrillando]

#blackouttuesday 🖤🥀 for George Floyd Today, Tuesday, June 2, it has been declared by many big companies in the music industry as the 'Black Out Tuesday' this week, on June 2. The measure is a declaration of solidarity in response to the death of George Floyd in Minneapolis, as well as a call for awareness of the problem of institutional racism. The call to measure began last Friday, May 29 on social networks, with the hashtag #TheShowMustBePaused. .......................................... Hoy, martes 2 de junio, ha sido declarado por muchas grandes compañías de la industria musical como el 'Black Out Tuesday' esta semana, el 2 de junio. La medida es una declaración de solidaridad en respuesta a la muerte de George Floyd en Minneapolis, así como de llamada a la concienciación ante el problema del racismo institucional. La llamada a la medida comenzó el pasado viernes 29 de mayo en redes sociales, con el hashtag #TheShowMustBePaused. A la campaña se han unido Atlantic Records, Capitol Music Group, Columbia Records, Def Jam, Elektra Music Group, HitCo, Interscope Geffen A&M, Island Records, Pulse Music Group, Reservoir, Republic Records, Sony / ATV, Sony Music, Virgin EMI, Warner Records, BMG, Universal Music Group, Kobalt , Hipgnosis Songs Fund, ASCAP, Milk & Honey, Grand Hustle Records, Downtown, SESAC , Boomplay, Concord, Symphonic Distribution y otros. Durante la jornada, las compañías no realizarán estrenos, transmitirán música en sus canales oficiales, ni habrá publicaciones durante todo el día. El slogan es: "un día para desconectarse del trabajo y reconectarse con nuestra comunidad" a través de "un paso urgente de acción para provocar la responsabilidad y el cambio". Columbia Records, por ejemplo, dijo en su canal de Instagram que: "El Black Out Tuesday ... no es un día libre, es un día para reflexionar y encontrar formas de avanzar en solidaridad. Seguimos apoyándonos con la comunidad negra, nuestro personal, artistas y colegas en la industria de la música. Tal vez con la música apagada, realmente podemos escuchar". #georgefloyd #noalracismo #blackout #minneapolis #blackpeople #blackpanther #nojusticenopeace #blacklivesmatter✊🏾 #nobannowall https://www.instagram.com/p/CA8D8kXBSTe/?igshid=4h5qx1masakm

[mariagutfotografias-blog]

ENG BELOW

Hebra

Una hebra es un trozo de hilo o de una materia hilada que se introduce a través del ojo de una aguja para el desarrollo de una costura o de un bordado. Por lo general es una porción corta que en conjunto genera un entramado.

La violencia contra las mujeres se ha manifestado como un continuo en la historia de América Latina siendo una herramienta de subordinación y control sobre la vida y el cuerpo femenino. Esta violencia sustentada por una cultura patriarcal y conservadora, es perpetuada por un sistema frágil de seguridad y respuestas judiciales que genera impunidad.

Las desigualdades territoriales, étnicas y de género interrelacionadas, intensifican las limitaciones de las mujeres para lograr una participación plena en la sociedad. Es así como la expulsión y el racismo también han generado diversas formas de violencia y discriminación estructural, legal e institucional, que se profundizan en el caso de las mujeres indígenas.

La tasa de analfabetismo en mujeres indígenas en Guatemala es del 48% y de los hombres un 25%. Cada día 119 mujeres son víctimas de violencia de género, existen 4 alertas diarias de desapariciones de mujeres y 27 denuncias diarias de violencia contra ellas.[1]

El bordado es una forma de sanación y salvaguardia de la identidad.

Como parte del campamento 20 fotógrafos realizado en Guatemala decidimos hacer un proyecto colectivo que nos involucre directamente con la comunidad en un acto de creación.

Conmovidos con los escalofriantes datos de violencia de género que se registran en ese país, compartimos entre nosotros y las bordadoras de San Pedro La Laguna que decidieron participar, historias de violencia o discriminación que cada uno de nosotros había experimentado alguna vez en su vida.

Posteriormente pensamos en una imagen que nos evoque dicha experiencia. Buscamos en nuestros archivos personales, en nuestro subconsciente y en las evocaciones simbólicas del entorno del lago Atitlán para conseguir o construir estas imágenes.

Sublimadas en tela, estas fotografías fueron luego la excusa para generar un espacio de encuentro entre fotógrafes y bordadoras. En una reunión casi ritual bordamos sobre estos símbolos como un proceso de sanar las heridas dejadas por esas experiencias dolorosas, de compartir encuentros y de seguir adelante.

Proyecto colaborativo entre

María Gutierrez

Isadora Romero

Eden Bernal

Editora

Andrea Josch

Strand A strand is a piece of thread or spun material that is inserted through the eye of a needle to develop a seam or embroidery. It is usually a short portion that together creates a lattice. Violence against women has manifested itself as a continuum in the history of Latin America as a tool of subordination and control over life and the female body. This violence, sustained by a patriarchal and conservative culture, is perpetuated by a fragile system of security and judicial responses that generates impunity. Interrelated territorial, ethnic and gender inequalities intensify women's limitations to achieve full participation in society. Thus, expulsion and racism have also generated various forms of structural, legal and institutional violence and discrimination, which deepen in the case of indigenous women. The illiteracy rate for indigenous women in Guatemala is 48% and for men 25%. Every day 119 women are victims of gender violence, there are 4 daily alerts of disappearances of women and 27 daily reports of violence against them. Embroidery is a way of healing and safeguarding identity. As part of the 20 photographers camp held in Guatemala we decided to do a collective project that directly involves us with the community in an act of creation. Moved by the chilling data on gender violence registered in that country, we shared between us and the embroiderers from San Pedro La Laguna who decided to participate, stories of violence or discrimination that each of us had experienced at some time in their lives. Later we think of an image that evokes that experience. We look in our personal files, in our subconscious and in the symbolic evocations of the environment of Lake Atitlán to obtain or build these images. Sublimated on canvas, these photographs were later the excuse to create a meeting space between photographers and embroiderers. In a quasi-ritual meeting we embroider on these symbols as a process of healing the wounds left by those painful experiences, of sharing encounters and moving on.

Collaborative project between Maria Gutierrez Isadora Romero Eden Bernal

Editor Andrea Josch

[comunistescat]

Per aturar i derrotar l'extrema dreta, enfortim el moviment unitari contra el feixisme i el racisme

Resolució del Comitè Executiu de Comunistes de Catalunya "Per aturar i derrotar l'extrema dreta, enfortim el moviment unitari contra el feixisme i el racisme". Davant el nou creixement electoral i institucional de l'extrema dreta, a les eleccions generals del #10N, Comunistes de Catalunya constatem, i compartim, la necessitat i el repte d'un salt qualitatiu en la resposta del moviment unitari contra el feixisme i el racisme. Comunistes de Catalunya, cridem a la màxima participació en l'Assemblea Especial d'Unitat contra el feixisme i el racisme amb l'objectiu de desplegar els acords de la Declaració #10N ("Declaración urgente de UCFR ante la subida electoral de VOX. Llamamos a la movilización y la organización unitarias contra el racismo y la extrema derecha en los diferentes territorios del Estado español" ) i coordinar l'extensió de la campanya #StopVOX a més barris i municipis de Catalunya i al conjunt plurinacional d'Espanya. El nou creixement de l'extrema dreta, ens interpel·la a impugnar l'estratègia de normalització (realitzada per mitjans de comunicació, elits econòmiques i la dreta extrema de Pp i C's) i redoblar esforços en l'estratègia d'assenyalar-la, desemmascarar-la, combatre-la i derrotar-la. Fins al #10N, VOX havia estat un partit d'aparells de l'estat, amb vot a territoris de rendes altes i amb un programa descaradament neoliberal: Ara, està reconduint estratègia, capgirant del liberal-feixisme al social-feixisme, per a créixer electoralment a barris obrers i populars, seguin el full de ruta de Steve Banon, Le Pen i Salvini. Davant una hipòtesi de futur escenari de nova crisi-estafa capitalista, i alhora de govern progressista a Espanya, VOX intentarà rendibilitzar, en un marc parlamentari i mediàtic d'oposició exclusiva de la dreta extrema i l'extrema dreta, l'oportunitat, generant un relat obrerista, antiestablishment i impugnador de la UE i de la globalització. Un fals discurs antiglobalització al servei, precisament, de construir un nou espai neofeixista global Aquesta mateixa setmana és una mostra d'accions de l'extrema dreta, del feixisme i del racisme i, alhora, de la resposta social envers les mateixes: 1. La mobilització feminista del #25N ha expressat netament el caire antifeixista del moviment feminista, enfront de l'extrema dreta de VOX que ha bloquejat declaracions institucionals contra la violència masclista envers les dones. VOX ha tornat a mostrar la seva misogínia i la seva violència patriarcal i, alhora la seva covardia. 2. La mobilització de la Plataforma Tanquem els CIES per denunciar les deportacions de companys/es migrants que han participat en la resposta popular contra la sentència als presos i presses polítiques. Racisme institucional i repressió de l'Estat, van de la mà 3. La resposta del periodisme crític i compromès davant l'intent d'emmordassar la llibertat d'informació, opinió i expressió 4. El suport al Menjador Social Gregal, impulsat per la cooperativa del mateix nom, al barri barceloní del Besòs-Maresme, que ha patit un nou atac neonazi. Davant la crisi social, el feixisme ataca la solidaritat, mur de contenció de l'odi i els intents de divisió de la classe treballadora i les classes populars. Cal respondre democràticament a qualsevol intent feixista d'aprofitament del patiment social per entendre odi amb "caritat feixista" de centres neonazis com HSM (Hogar Social Madrid). Cal a crear i reforçar xarxes de solidaritat comunitària que donin resposta popular autoorganitzada i empoderadora davant la crisi social Comunistes de Catalunya Comitè Executiu Barcelona, 28 de novembre de 2019 via el Bloc dels i les Comunistes de Catalunya