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**Welcome to the Restorative Practices wiki** !

Restorative Practices is a project co-financed by the European Union under the Creative Europe programme. It aims to connect like-minded organizations working at the intersection of sustainability and bio-art practices, grounded in transfeminist contexts and methodologies, and committed to supporting historically underrepresented collectives. The project fosters knowledge exchange and contributes to the creation of more just and sustainable future realities.

In the framework of Restorative practices project production, and hopefuly beyond, this wiki seeks to be filled up with relevant and useful data our community could find useful.

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

''Pedagogies of the Wind and Stars. The social relations that we (were never meant to)      survive, also live in our bodies painfully, and Audre Lorde is not here to remind us of this lesson herself, except  in  as  much  that  she  is  present  in  the pedagogical wind. But wind is our teacher (74).                                                                             -Alexis Pauline Gumbs'' from the book Mapping Queer Space(s) of Praxis and Pedagogy

Editors: Elizabeth McNeil, James E. Wermers, Joshua O. Lunn''

[[ https://archive.org/details/eco.logic-queer-todo-1 ]]

[[https://archive.org/details/eco.logic-queer-energy-parte-1|https://archive.org/details/eco.logic-queer-energy-parte-1]]

[[ https://archive.org/details/part-2-eolica|
https://archive.org/details/part-2-eolica]]

**Mostra Restorative Practices no Vello Cárcere de Lugo co apoio de Cultura e Turismo do Concello de Lugo e cofinanciado pola Unión Europea a través do programa Europa Creativa Cultura**

A mostra **Restorative Practices** da artista, coordinadora e acaneadora Paula Pin 
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 
nos arrebatou. Algo tan sinxelo como o propio mundo. O mundo, si. 
É difícil atoparse a un mesmo descubrindo as reaccións químicas que se provocan no devir 
e na interacción dos elementos que existen se non é algo producido por grandes compañías 
tecnolóxicas e do márketing, facéndonos crer que chegaron ao cumio da experimentación e da innovación (unha vez máis), é difícil atoparse a un mesmo descubrindo as propiedades da auto-análise do corpo, é difícil porque no mundo no que vivimos estamos ao servizo do consumo tecnolóxico tal e como se nos presenta polas grandes corporacións mercantilistas. 
Grazas á mostra que se pode atopar no terceiro andar do Vello Cárcere en Lugo, da que tamén colaboran a deseñadora de moda Tina Cortón, Mirando Moss e Urs Gaudenz, Paula convídanos a rebelarnos ante esa dominación, a través dunha perspectiva transfeminista, presentando diferentes aparellos tecnolóxicos producidos por unha rede colaborativa de open source na que o coñecemento vólvese público e social. O traballo de Paula e a súa rede de apoio mutuo convídanos a experimentar o mundo. Sen dúbida esa é unha das peculiaridades do seu traballo, Paula non só nos revela, tamén se rebela. E convídanos a que a acompañemos no seu activismo. Revélanos o mundo, porque o seu traballo é o ánimo que implica crer no xogo. Xogamos cando experimentamos cunha pelota feita de papel, e tamén xogamos cando mesturamos agar agar, glicerina e un pouco de fairy. Onde está o límite do noso mundo? Onde nos queiramos. Rebélase contra o mundo e as súas dinámicas de poder porque a tecnoloxía non debe situarse paralela á sociedade, de querer ser útil, a tecnociencia debe situarse ao carón, integrándose nas problemáticas sociais, achegando os seus avances ás comunidades máis marxinadas. 
O corpo é o primeiro lugar que debemos recuperar como propio, e na mostra podemos atopar exemplos de microscopios cos que realizar (auto)análises. Un microscopio feito por nós mesmos (DIY do it yourself). Esta dominación tecnolóxica apúpase grazas ao pacto patriarcal e capital. A posibilidade de que as mulleres poidan recoñecer o seu propio corpo realizándose citoloxías en espazos seguros, sen implicación do nivel social ao que pertenzas, así como PCR, son achegas que teñen un manifesto sentido pola integración da comunidade. Pola liberación da sociedade. Mais o traballo desta lucense non remata no aspecto tecnolóxico. A tecnoloxía estaría orfa se non viñese acompañada doutra maltratada forma de coñecer como é a arte. Así, nesta mostra podemos atopar unha compilación dos procesos levados a cabo nas intervencións en diferentes espazos pedagóxicos, nunha sorte de fanzines realizados de maneira analóxica. Bolis, pegamento, recortes, cores, purpurina... Estes fanzines chaman a atención visual e táctil de todo aquel que se achegue á mostra. Aí, poderanse ver os traballos dos nenos e nenas e nenes que abranguen unha idade dende os dez ata os corenta anos. O resultado dos diferentes proxectos levados a cabo en unitarias, ou institutos.
A arte é outro dos procesos que o capital trata de engulir, sabendo da potencialidade liberadora que exerce nos animais humanos e non tan humanos. O sentido que a arte nos achega como seres sociais nos permite reivindicar un coñecemento diferente do establecido polas normas académicas. Esta é outra potencia rebeladora e reveladora do traballo que coordina e que nos mostra Paula Pin. Nun mundo académico no que aos catives se lles esixe separarse do coñecemento propio da arte ou do científico en idades cada vez máis temperás, o proxecto innovador e transdisciplinar que nos propón Paula é unha mostra da ineficacia e da carencia que teñen os nosos sistemas educativos. Remato recordando que esta mostra foi merecedora do apoio Europa Creativa Cultura durante o 2023 e 2024. Recesión escrita por Xesús Estalote Maroño

**
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.

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.

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

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