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start [2026/02/17 00:05] – 2.140.235.42start [2026/02/17 03:02] (current) – 2.140.235.42
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-https://www.hackteria.org/wiki/ELQEH_-_Eco-Logic_Queer_Energy_Harvesting/_eco_loxicas_cuir_xeradoras_de_enerx%C3%ADa_e%C3%B3lica   Full documentation of the process +https://www.hackteria.org/wiki/ELQEH_-_Eco-Logic_Queer_Energy_Harvesting/_eco_loxicas_cuir_xeradoras_de_enerx%C3%ADa_e%C3%B3lica    
 + 
 +“Comprehensive documentation of the entire process on the Hackteria Wiki, an active part of the open-source network with which members of the restorative practices team had already been collaborating prior to and throughout the restorative process.”
  
  
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 Editors: Elizabeth McNeil, James E. Wermers, Joshua O. Lunn''  Editors: Elizabeth McNeil, James E. Wermers, Joshua O. Lunn'' 
  
-{{::untitledturbinewithlogos_1_.png?200|}}    +{{::untitledturbinewithlogos_1_.png?250|}}    
-{{::eolicos2.png?200 |}}+{{::eolicos2.png?250|}} 
 +{{::coilmaker02.png?400|}}
  
 Full documentation on Video format. Full documentation on Video format.
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 [[ https://archive.org/details/part-2-eolica| [[ https://archive.org/details/part-2-eolica|
 https://archive.org/details/part-2-eolica]] https://archive.org/details/part-2-eolica]]
- 
- 
  
  
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-A mostra **Restorative Practices** da artista, coordinadora e acaneadora Paula Pin +A mostra **Restorative Practices**, resultado do proxecto Creative Europe cofinanciado pola Unión Europea, coordinado por Casa do Rio a través da artista e traballadora cultural Paula Pin,
 achéganos a un mundo inquietante. É inquietante, porque pon en valor algo que se nos  achéganos a un mundo inquietante. É inquietante, porque pon en valor algo que se nos 
 volveu alleo, algo que as relacións de dominación, obxectivación e suxeición capitalista  volveu alleo, algo que as relacións de dominación, obxectivación e suxeición capitalista 
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 English Versión  English Versión 
 ** **
-The exhibition Restorative Practices as a result of  Creative Europe project cofinancied thet by the Europen Union by the artist, coordinator and fabricator Paula Pin brings us closer to a disturbing world. It is disturbing, because it values something that has become alien to us, something that the relations of domination, objectification and capitalist subjection have taken away from us. Something as simple as the world itself. The world, yes. It is difficult to find oneself discovering the chemical reactions that occur in the becoming and interaction of the elements that exist if it is not something produced by large technology and marketing companies, making us believe that they have reached the pinnacle of experimentation and innovation (once again ), it is difficult to find oneself discovering the properties of self-analysis of the body, it is difficult because in the world we live in we are at the service of technological consumption as it is presented to us by large mercantile corporations. Thanks to the exhibition that can be found on the third floor of the Old Prison in Lugo, in which the fashion designer Tina Cortón, Mirando Moss and Urs Gaudenz also collaborate, Paula invites us to rebel against that domination, through a transfeminist perspective, presenting different devices technologies produced by a collaborative open source network in which knowledge becomes public and social. Paula's work and her network of mutual support invite us to experience the world. Without a doubt that is one of the peculiarities of her work, Paula not only reveals to us, she also rebels. And she invites us to accompany her in her activism. He reveals the world to us, because his work is the encouragement involved in believing in the game. We play when we experiment with a ball made of paper, and we also play when we mix agar agar, glycerin and a little fairy. Where is the limit of our world? Where we want.+The exhibition Restorative Practices as a result of  Creative Europe project cofinancied thet by the Europen Union  coordinated by Casa do Rio throght artist and cultural worker Paula Pin brings us closer to a disturbing world. It is disturbing, because it values something that has become alien to us, something that the relations of domination, objectification and capitalist subjection have taken away from us. Something as simple as the world itself. The world, yes. It is difficult to find oneself discovering the chemical reactions that occur in the becoming and interaction of the elements that exist if it is not something produced by large technology and marketing companies, making us believe that they have reached the pinnacle of experimentation and innovation (once again ), it is difficult to find oneself discovering the properties of self-analysis of the body, it is difficult because in the world we live in we are at the service of technological consumption as it is presented to us by large mercantile corporations. Thanks to the exhibition that can be found on the third floor of the Old Prison in Lugo, in which the fashion designer Tina Cortón, Mirando Moss and Urs Gaudenz also collaborate, Paula invites us to rebel against that domination, through a transfeminist perspective, presenting different devices technologies produced by a collaborative open source network in which knowledge becomes public and social. Paula's work and her network of mutual support invite us to experience the world. Without a doubt that is one of the peculiarities of her work, Paula not only reveals to us, she also rebels. And she invites us to accompany her in her activism. He reveals the world to us, because his work is the encouragement involved in believing in the game. We play when we experiment with a ball made of paper, and we also play when we mix agar agar, glycerin and a little fairy. Where is the limit of our world? Where we want.
  
 It rebels against the world and its power dynamics, because technology cannot be placed in parallel with society; if it is to be useful, technoscience must be placed alongside it, integrating itself into social problems and bringing its advances to the most marginalised communities. The body is the first place that we must reclaim as our own, and in the sample we can find examples of microscopes with which to carry out (self-)analysis. A microscope made by ourselves (DIY do it yourself). This technological domination is based on the patriarchal pact and capital. The possibility for women to know their own body by doing cytology in safe spaces, without the involvement of the social level to which they belong, as well as PCR, are contributions that have a manifest meaning for the integration of the community. For the liberation of society. But the work of this licence does not end with the technological aspect. Technology would be an orphan if it were not accompanied by another battered way of knowing what art is. Thus, in this sample, we can find a compilation of the processes carried out in the interventions in different pedagogical spaces, in a kind of analogue fanzine. Pens, glue, cut-outs, colours, glitter... These fanzines attract the visual and tactile attention of anyone who approaches the exhibition. You will see the work of children aged between ten and forty. The result of various projects carried out in units or institutes. Art is another of the processes that capital tries to swallow, knowing the liberating potential it exerts on human and not-so-human animals. The sense that art gives us as social beings allows us to claim a knowledge different from that established by academic norms. It rebels against the world and its power dynamics, because technology cannot be placed in parallel with society; if it is to be useful, technoscience must be placed alongside it, integrating itself into social problems and bringing its advances to the most marginalised communities. The body is the first place that we must reclaim as our own, and in the sample we can find examples of microscopes with which to carry out (self-)analysis. A microscope made by ourselves (DIY do it yourself). This technological domination is based on the patriarchal pact and capital. The possibility for women to know their own body by doing cytology in safe spaces, without the involvement of the social level to which they belong, as well as PCR, are contributions that have a manifest meaning for the integration of the community. For the liberation of society. But the work of this licence does not end with the technological aspect. Technology would be an orphan if it were not accompanied by another battered way of knowing what art is. Thus, in this sample, we can find a compilation of the processes carried out in the interventions in different pedagogical spaces, in a kind of analogue fanzine. Pens, glue, cut-outs, colours, glitter... These fanzines attract the visual and tactile attention of anyone who approaches the exhibition. You will see the work of children aged between ten and forty. The result of various projects carried out in units or institutes. Art is another of the processes that capital tries to swallow, knowing the liberating potential it exerts on human and not-so-human animals. The sense that art gives us as social beings allows us to claim a knowledge different from that established by academic norms.
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 This is another rebellious and revealing power of the work Paula Pin has coordinated and shown us. In an academic world in which children are asked to separate themselves from the knowledge of art or science at an earlier age, the innovative and transdisciplinary project that Paula proposes to us is an example of the inefficiency and lack of our educational systems. In conclusion, I would like to say that this exhibition deserves the support of Europa Creativa Cultura in 2022 and 2024 through the cofinance of Eurpean Union. Recession written by Xesús Estalote Maroño This is another rebellious and revealing power of the work Paula Pin has coordinated and shown us. In an academic world in which children are asked to separate themselves from the knowledge of art or science at an earlier age, the innovative and transdisciplinary project that Paula proposes to us is an example of the inefficiency and lack of our educational systems. In conclusion, I would like to say that this exhibition deserves the support of Europa Creativa Cultura in 2022 and 2024 through the cofinance of Eurpean Union. Recession written by Xesús Estalote Maroño
  
-{{::biomateriais.jpg?200|}} +{{::biomateriais.jpg?400|}} 
-{{::mostrabiomateriais2.jpg?200|}} +{{::mostrabiomateriais2.jpg?400|}} 
-{{::img_20240518_184104.jpg?200|}} +{{::img_20240518_184104.jpg?400|}} 
-{{::maletinessi.jpg?200|}} +{{::maletinessi.jpg?400|}} 
-{{::mg_1960.png.jpg?200|}}+{{::mg_1960.png.jpg?400|}} 
 +{{::snapsave-app_3371349069278152139.jpg?400|}} 
 +{{:snapsave-app_3371349069244490563.jpg?400|}} 
 +{{:snapsave-app_3371349069244582132.jpg?400|}} 
 +{{:snapsave-app_3371349069252880929.jpg?400|}} 
 +{{:snapsave-app_3371349069261350929.jpg?400|}} 
 +{{:snapsave-app_3371349069278152139.jpg?400|}}
  
  
-<gallery> +<gallery mode="packed-hover" heights=320px>
-biomateriais.jpg|Caption 1 +
-mostrabiomateriais2.jpg|Caption 2 +
-img_20240518_184104.jpg|Caption 3 +
-</gallery> +
- +
-<gallery mode=packed heights=200px>+
 biomateriais.jpg biomateriais.jpg
 mostrabiomateriais2.jpg mostrabiomateriais2.jpg
 +img_20240518_184104.jpg
 +maletinessi.jpg
 +mg_1960.jpg
 </gallery> </gallery>
 +
 +<gallery mode="packed-hover" widths=380px heights=300px>
 +File:blades02.jpg
 +File:Coildoing00.png
 +File:coil02.jpg
 +File:Coilscollection.jpg
 +File:statorr5.jpg
 +File:stator04.jpg
 +File:stator05detail.jpg
 +</gallery>
 +
  
  
start.1771286713.txt.gz · Last modified: 2026/02/17 00:05 by 2.140.235.42
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