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This publication is in close dialogue with the ideas, processes and artworks by Pia Lindman, Vidha Saumya and Jenni-Juulia Wallinheimo-Heimonen, and acts as a handbook to The Pleasures We Choose, the eponymous Pavilion of Finland at the 60th International Art Exhibition – La Biennale di Venezia. The contributions gathered here address matters of access, agency, toxicity, architectures of violence (social, cultural and environmental), institutional conditions, disability justice, interdependency, collectivity, human and planetary health, healing, embodiment-as-power, rest-as-resistance, and radical acts of selection, sustaining and spreading pleasure. This book can be read in direct relation to the exhibition, but also functions as an invitation for those who could not attend in person, presenting and extending the core practices, processes and politics of the project through the more intimate and autonomous format of a publication., https://www.librarystack.org/pleasures-we-choose-the/?ref=unknown

This publication is in close dialogue with the ideas, processes and artworks by Pia Lindman, Vidha Saumya and Jenni-Juulia Wallinheimo-Heimonen, and acts as a handbook to The Pleasures We Choose, the eponymous Pavilion of Finland at the 60th International Art Exhibition – La Biennale di Venezia. The contributions gathered here address matters of access, agency, toxicity, architectures of violence (social, cultural and environmental), institutional conditions, disability justice, interdependency, collectivity, human and planetary health, healing, embodiment-as-power, rest-as-resistance, and radical acts of selection, sustaining and spreading pleasure. This book can be read in direct relation to the exhibition, but also functions as an invitation for those who could not attend in person, presenting and extending the core practices, processes and politics of the project through the more intimate and autonomous format of a publication., https://www.librarystack.org/pleasures-we-choose-the/?ref=unknown

A decade ago many gushed at the possibilities of 3D printers and other DIY tech. Today makers are increasingly shaking off their initial blind enthusiasm to numerically control everything, rediscovering an interest in sociocultural histories and futures and waking up to the environmental and economic implications of digital machines that transform materials. An accumulation of critique has collectively registered that no tool, service, or software is good, bad, or neutral—or even free for that matter. We’ve arrived at a crossroads, where a reflective pause coincides with new critical initiatives emerging across disciplines. What was making? What is making? What could making ..., https://www.librarystack.org/critical-makers-reader-unlearning-technology-the/?ref=unknown

A decade ago many gushed at the possibilities of 3D printers and other DIY tech. Today makers are increasingly shaking off their initial blind enthusiasm to numerically control everything, rediscovering an interest in sociocultural histories and futures and waking up to the environmental and economic implications of digital machines that transform materials. An accumulation of critique has collectively registered that no tool, service, or software is good, bad, or neutral—or even free for that matter. We’ve arrived at a crossroads, where a reflective pause coincides with new critical initiatives emerging across disciplines. What was making? What is making? What could making become? And what about unmaking? The Critical Makers Reader features an array of practitioners and scholars who address these questions. Together, they tackle issues of technological making and its intersections with (un)learning, art and design, institutionalization, social critique, community organizing, collaboration, activism, urban regeneration, social inequality, and the environmental crisis., https://www.librarystack.org/critical-makers-reader-unlearning-technology-the/?ref=unknown

A decade ago many gushed at the possibilities of 3D printers and other DIY tech. Today makers are increasingly shaking off their initial blind enthusiasm to numerically control everything, rediscovering an interest in sociocultural histories and futures and waking up to the environmental and economic implications of digital machines that transform materials. An accumulation of critique has collectively registered that no tool, service, or software is good, bad, or neutral—or even free for that matter. We’ve arrived at a crossroads, where a reflective pause coincides with new critical initiatives emerging across disciplines. What was making? What is making? What could making become? And what about unmaking? The Critical Makers Reader features an array of practitioners and scholars who address these questions. Together, they tackle issues of technological making and its intersections with (un)learning, art and design, institutionalization, social critique, community organizing, collaboration, activism, urban regeneration, social inequality, and the environmental crisis., https://www.librarystack.org/critical-makers-reader-unlearning-technology-the/?ref=unknown