As you guys probably have this series of lectures back. And we're really very pleased today to have for now. I will introduce her and I would work with the bathroom, kind of explain it. And it made me think there was smoke of it. I was very fond of years ago, back in book by David hi version. And he wrote a book on craftsmanship that I think was our practice, just like in the late sixties. And in the book, he framed, really practice those words I think is a very special place, I think in architecture. Characters so much of what we care about, how materials, materials are, details, connections, I'll just say isn't very good, but we did it. So let's see if I can remove this now, he brain work in different ways. I think you referred to workmanship of risk. Hey, Russ. He describe that as Kraft. Kraft was asserting associated with workmanship and progress. And what he was talking about was the risk that is at play when a person actually relies on the dexterity of the artist, the knowledge of the person. And so there's a kind of built up a relationship between making an actual person that he deeply associated with crack. And with that every object is different because every everybody does things a little bit differently. So he compares that to the workmanship certainty. And he associates that with manufacturing and against the list of manufacturing automation. And he sees in that, that the kind of richness that we all kind of into it releases with crack as being loss. Okay? So in friendship of certainty, just manufacturing industrial automation, you see something that gets lost because the resulting object is the same as mass-produced. It's part of the reason I bring this up is that I think that for now operate somewhere in and she looks, I think it computation and technology. Not as a way to generate a new kind of crowd. A lot of computational designers do that. It's often referred to as digital craft. In other words, the computation CAC issue. This is all generated. A new car starting a new kind of crap company, Digital Crown. But rather, I think, I think for now, looks at it as a way to kind of capture the richness of culture, of tradition, a specific place through computation. So I feel like it's less about producing something new all the time. And board are capturing the kind of cultural practices that are part of the places that she works. And this is really a big part of the work that she does. And Trinidad, Cornwall, which initially captured my attention. But here's a nice though, were observed in the, in the traditional craft of making the costumes for, for carnivores, that it was becoming an adult. The people who were getting old, and there was a concern about this tradition being lost, right? So, so she's 17, How can we said it was these traditions. How do we capture those traditions and not replace it with something new, but actually capture that and use that as a kind of motivation for how to deploy technology, but within a very specific cultural context. And it was just a beautiful way. To me. It was a very new way of thinking about it. Computation in craft that honestly I'd never seen in all of the people in this area. And so she really works in a very unique place. I think among her peers. She's the course, a new assistant professor here in she has a joint appointment with some Architecture in the School of Interactive Computing, which is also a great thing. Looking forward to that partnership. She, she has a VOR from Howard University and a post-professional degree from MIT and her PhD from Penn State architecture computation. Remember what Mr. rewarded as architecture computation. And she's been very actively reading. She She's recently, her work has been supported by Grant Foundation with the recent grant by Mozilla. And she was recently a keynote speaker and it doesn't get done, okay, yeah. It is one of the major conferences, people world issues as to be key and that's a very useful thing for somebody as early in her career is for now. And so it's, it's, it's quite amazing. Long way of saying that, that, that Cornell is really on a roll. And we're just really happy. Oh, sure to check. So please join me. Thank you very much. I think Scott just gave my entire presentation so we can go home now. All right. Thank you very much, Scott. Thank you for that wonderful introduction. And thank all of you who are sharing today. So I've titled my talk, computers, craft and culture, creative and critical inquiry into computational design. So as Scott mentioned, I recently, I recently back at Georgia Tech, directing the situated computation and design lab that will get up and running soon. And in my work, I look into making. So I research into four through and with making, examining traditional making practices, craft as Scott mentioned, and cultures, both digital and traditional. So automated software based practices and their intersections with society. So I examine knowledges and practices, tools and technologies or communities or cultures around both traditional and software practices. This includes building new computational tools and methodologies, research frameworks, new expressions and architecture to explore new reconfigurations of computational design practice, pedagogy, and our publics. So for me, the field of design computation, computational design is much more than us using technologies for representation, for manufacturing, etc. But I see computational design as an interdisciplinary field and interdisciplinary site or critical site, a theoretical side for negotiations, new negotiations and imaginations about design, architecture, the built environment, and society. And so two questions that I'll address in my presentation to the R. One, how might software based practices reshape cultural and craft these practices, ideas and labels. And to how my new investigations into craft, repair and reveal hidden entanglements in computational design. And some of the problems I address in my work include the disappearance or erasure of craft or cultural knowledges, practices, histories, and communities to their omission from this causes and computational design. And 3, us understanding the effects of computation and craft alongside human welfare. So the vision for my work is to repair both repairing craft practices or cultural design practices and repairing computational design practices. Why? To undo damages that might have occurred in the past and today. And that could be social, cultural, theoretical, historical. To improve current and future technologies and processes and to consider small repairs and they're larger social implications. And I use sentence description as a point of departure. That being comprising restoration or recovery in which the damage and use of histories are done. Mediation, presuming an existing form while substituting all the parts for new and improved ones and reconfiguration, which has a more radical kind of repair that's more experimental. Exploring connections between small repairs and they're larger consequences or larger implications. And I go about doing this using an approach I call situated computation's approach or framework, which I will share more with you today. And situated computation's is an approach to computational design. And that's research, practice or pedagogy that grounds our tools or methods and theories in the social world. By acknowledging historical, cultural, and material contexts of design and making, it responds to our settings, social and technological infrastructure. And it asks that we refuse to remain ignorant of social and political structures that shape them. And some of the things this framework or this approach accomplishes are that it creates space for participation by those missing, there are many missing enough view. It resists the segregation and privileging of certain types of intelligences at skills. And it amplifies the stories of historically excluded or marginalized groups. Currently, there are eight principles to this framework for how we design and develop our tools, methods, technologies, etc. Such that will reveal histories, Human Dimensions, and recognize the partiality of knowledge within specific contexts. I'll share with you now how I operationalize this free MOOC in my research. So that craft and cultural practices, influenza computation, our practices and divisive yourself. And I'll begin here. I'll start at the cultural practice of the Trinidad carnival. I'll begin by sharing with you a bit of the history of carnival and practices involved in it. So french planters introduced Carnival to Trinidad in the 17 eighties. And although Africans engaged in carnivore festivities during their enslavement, after slavery was abolished in 1834, they reinvented the Carnival to express their creativity, freedom, aesthetic sensibilities, and reclaim their humanity in the face of a system that can assist them that consider that less than, considered them less than human. So while Europeans participated in Carnival for fun and frolic, for those of African descent, carnivore was our religion and a psychological release of tensions from domination, segregation, and violent in human systems of control. This is an engraving from 1888 of carnival celebrations in the capital city of photos being carnivores or the term cannibal doesn't just define its location, so it's not specific to Trinidad. It was born in Trinidad. And its main elements are mass or the masquerade, Calypso Asoka, which is the music native to carnival, some of which I was playing earlier. And the steel pile, which was invented in 19 1930's in Trinidad by African working class people from discarded oil drums. There are more than 70 carnivores spread throughout the, throughout the world. In Europe, UK, the Caribbean, Canada. There has been, there is kind of all in Atlanta also. These are images of some of the characters and events happening and carnivores from UV. And this is or Blue Devils, which originates from the celebration of resistance and emancipation from enslavement, from dangerous, cruel, forced labor of enslavement. In addition to celebrating resistance animals, EPA Shang carnival is also a space of joy, of creativity and innovation. This is a photo of George Bailey is winning carnival band from 1957. And I think of Cornwall, especially at that time as the Internet of the time. Public education in art, history, design society. All of this is and was wrapped up in Carnival. People portrayed and educate the public on their histories, real histories, imagine histories, past and future. And integral aspects of carnival are also about community. The route of carnival is about people doing things together, making together, dancing together, expressing creativity together, celebrating together. At mass camps, which are places where people come together to design and make costumes and sculptures for the carnival. There are interactions, feelings of family bonding, close relationships are formed by people at designing, making, cooking, dancing, listening to music, et cetera. In this shared spaces of making and competition. There's also mentoring and cooperation with people feeling wanted secure in these spaces. Learning how to socialize, how to respect creativity, the arts, and artists. And while engaging in design and making incarnate well, is of itself a form of community engagement. Most, if not all of those I invented, I interviewed during my field work. Initiated and organized community events. So that would include soccer matches, mothers and fathers, the events to keep their communities together, right? So these are some of the elements intertwine and the histories and practices of the culture of Trinidad carnivores where, whether it happens in Trinidad or other parts of the world, is that the social aspect? It's also about design and making with people creating and performing costumes that depict histories, imaginations, social, environmental, and political topics. On the left, costuming from the 1950s and the right from 2016. And it's also about innovation, just like the steel pipe that was invented in the 1930s. This is Peter Min shows band color Lu from 1984. And here he took an active bending approach to dancing sculptures by inserting fiberglass rods into textiles to create these textile hybrid costumes for performance entire world. And in addition to costuming, we also have these large sculptures that are decorated and performed in Carnival. We call them kings and queens of carnival. I refer to them or define them as dancing sculptures. And an integral practice in the making of these artifacts and costumes is wire bending. That's the craft of wire bending. And bending is a craft that combines elements of engineering, architecture and sculpture to create two and three-dimensional forms using linear right materials. So why a fiberglass rods, Kane, et cetera. And they are bent and sheep to create these structures for performance. And these large artifacts or architectures are expressions of creativity, vision, and technical skill. These are photos of an expert wire bender, Stephen, direct performing wire bending. He has unfortunately since passed away. This is a photo from 1969 of why benders and historically this is a male-dominated practice. Okay? And so my interrogation into kind of will began here, kind of because I was noticing aesthetic changes in the carnival and I had hunches about why that may be there. We'll, reasons given by social scientists, economists and my hunches that there were problems happening in design. And going on this side on the ground, so to speak, is when I found out about this particular craft of wire bending and that it was dying, it was disappearing. And its potential disappearance then under no signals or loss of all. And I showed you before all the cultural things, the mentoring, the cooperation, all of those things are at risk with this language, this particular practice disappearing because all of this is tied to people's creativity or people's innovation, other people's voice. So based on my research, some of the issues occurring in craft, not just the wire bending, include little to no documentation of these of knowledge in these practices as many times they are tacit and unwritten and taught by a lengthy apprenticeships to the slow transmission of the skills and knowledge 3, dying practitioners and for changing practices and societies due to global and technological changes. And addressing this as a problem is important because crafters embedded in historical, social, and political frames and its disappearance signals the erasure of all the historical cultural things I mentioned before. Secondly, because this knowledge is tied to practitioners, it means that when they pass away, they take that knowledge with them, making it even more challenging to transmit and share that culture and that knowledge. Thirdly, studies have shown that the quality of one's craftsmanship is closely related to their ties to a community. So strong craftsmanship skills, strong ties to a community. Week, craftsmanship skills, weak ties that community. And you want a strong community ties. And fourthly, these practices, our language, are we communicating a voice, ways of making? And when we forget, erase or leave all these relevant complex histories and voices, then things like this happen. This is an image from two images from 2016. Wear a mask designer. This was his production or proposal for a particular section and mass. And there was public outcry about it because he was accused of trivializing the trauma of slavery. He and his work was seen by some as glamor rising, a part of colonial history where racism and socioeconomic disparity will rampant and continues even today. On the right is a mem, created by someone highlighting. Our feelings about the production that seemingly valorizes a slave narrative and an astrologer F1 era that abuse or press than disenfranchised African people. So to summarize, these are some of the issues involved in craft. Craft a wire bending, and in the practice of churn that carnival dying practices, we risk fragmenting communities. The ratio of knowledges, missing demographics, and the production of wood that trivializes people's histories and cultures. So how might you Janelle this home my computation, software based practices, reshape these cultural or craft practices, ideas and labels. How might we Rishi turn that carnival and practices and the carnivora with computation. So my work started here and this is since 2013. Okay, so I'm just showing you where it where it started. So you understand the genesis of it. And it started by my tackling of that problem of wire bending being a craft knowledge that's disappearing. To address little to no documentation and slow transmission of those knowledges and skills. And documentation included examining wire bundles, participating in the craft to make that tacit embodied knowledge explicit. On the left is a wire bender, Stephen, Derek. And then the right, my start at describing this craft using symbols, operations, and rules. Named after Stephen, Derek and Albert bailey. A billion Stephen Dario, the bailee direct grandma computationally describes technical knowledge in wire bending. It's a series of drawings that describe the materials, steps, and techniques in wire bending, allowing an analysis, transmission of expertise for research, practice, and education. This is Albert bailey and Stephen Derek. Here is an example of the grandma working to externalize and formalized tacit rules and knowledges embedded in the crop so that they are less tied to their originators, which is particularly important when they are retiring or passing away. So it facilitates documentation and recording of the design and making process and sheds light on the crops computational dimensions, opening it up for further inquiry and expansion. This is an example of how it might be used to document the design and fabrication process in wire bending. And so I hypothesize that the grandma could address this problem of practice and education. But who knows if it would work, right? So I went to Trinidad and Tobago. I also conducted workshops in the US test the grandma right to evaluate what might happen in a pedagogical setting. So in this, these particular images, these, these workshops were conducted with our students and our teachers. And it involved the first step of the experimental workshop was giving them materials and tools and wire bending so that they would make things so I can see and understand what knowledges they were coming with. Then it involve teaching them. So the first part they had to design and make something and then communicate how they would do that to another team without seeing what was made. And then they would swap instructions and try to make the SEA market. Okay? In the second part of the workshop, I taught them DBT direct grammar, that being technical knowledge behind the craft. How to use it, how to use it to ask questions, to speculate, to explore. Taught them about the materials and connections, why and how they're used. So the theory behind the practice then demonstrated that using practical skills. So how to bend, how to wrap tape, how to rotate their wrists out to move their bodies, etc. For Popper, proper accretion of techniques and technical details and the craft. They design and build their artifacts and then using instructions, no learning the grammar, exchange instructions and they would repeat each other's instructions to meet their artifact before learning the grammar, some of the challenges included poor craftsmanship, conflicting standards and instructions or lack of knowledge. Of course, missing information and a feeling of a lack of confidence. So what they could or could not really do. After learning the grandma. However, there was no improved craftsmanship and agreed standard for communication. It facilitated replication and increase their confidence in being able to explore, try things using the craft. In this image, the artifacts on the left are the originals, artifacts on the right, the replicates. So it facilitated replication. One of the coolest things coming out of the MOOC up, whoever was a collaborative approach to the craft. The currently the practices singular with one person to one artifact, right? But the grandma open that up for many people to participate in the making of 195. So it afforded a collaborative approach to wire bending that currently does not exist. And it appealed to those participating in the workshop. So this reinforces or creates additional spaces for mentoring, cooperation, social interaction that's embedded in making in Carnival. It also facilitates additional ways of engaging from documentation to analysis, fabrication, and assembly. And so contributions from this project workshop included the restoration of wire bending knowledge, improving technical knowledge and technical skill, documenting or processes, and enabling a collaborative approach to the craft. Oh, how my craft best practices Rishi design, pedagogy in craft and computation. So I developed three computational approaches to include not just the grammar, but also CNC bending, digital tools, as well as software. And these were done to address the lack of participation and wire bending by computational publics. And those interested in computational technologies and to the absence of women, children and those with physical limitations from the practice. As a craft requires a dexterity and strength might be out of reach for some. So I evaluated these three approaches right here at Georgia Tech. I taught a seminar class with students. There were 11 students, three men, it women. And that matters because currently wire bending is, as I mentioned, male-dominated. I now had more female participants than I had male participants. They self-reported little to no experience in wire bending. One reported moderate experience. And like I mentioned, majority female students write. The first approach which I called competition on crafting this involved using the BDI direct grandma. These are some of the images of, some images of artifacts made by students. Then crafting fabrication. This one preserves the existing way of engaging in wire bending, but it also includes CNC wire bending to aid in that labor intensive aspect of it that I mentioned when bending by hand with computer-controlled bending, opening it up to possible participation by women, children and those with physical limitations. These are images of some of the artifacts, details, and connections made by students. And this third approach, which I call digital crafting, employing digital design and fabrication and speculative software including 3D printing. These are designs generated using an experimental cut to that I developed for engaging in line this design variations, Let's see. All right, For wire bending, these are images of some of the artifacts made by students using the digital crafting approach. And so in this, whoops, students could Lewin craft through computation and the practicing of computation Through Craft. Bringing those interested in craft and making and computation together. Bringing multiple intelligences, that is visual reasoning, seeing, doing, calculating, and sensory material experiences together, InDesign. The work forecasts a new community that brings together wire benders and computational designers, accessible by both experts and novices. A third question coming out of this work is how my new investigations into crap, reshare practices and computational design. Home right? Cultural practices and current as well. For example, reshape computation on an architectural practices, ideas and labels. After teaching students these approaches in the crap, we then built a pavilion using wire bending techniques to further learn about the craft at the architecture. You create a piece of architecture. We employed these two methods and to review tectonic languages and new interpretations and poetics of construction that would highlight this local practice. Digital fabrication tools and methods broaden the scope of students technical skills and reduced the barrier to participation by those with manual limitations. So we started here at the Billy direct grandma, like I mentioned, using the grammar as a way to defamiliarize the practice to develop new tectonics and amplify local social relations are rules. These are few new tectonics that we designed, developed, and structurally tested for application at the architectural scale. New tectonics possible because of the Billy direct grandma. In this making driven approach, physical and digital models facilitated that dialogical relationship among visual, corporeal material and tactile perceptions with each and forming the other. Poetics, again, built on local skill and re-engaging non-visual experiences and architecture. This is our pavilion. And outcomes included new poetics of construction that highlight local material practices, place and people. The pavilions, new poetics indicate how in different communities beyond those traditionally associated with Karla will also know that my students were from Canada, or we're engaged with the craft, a wire bending or kind of well before or engagement in this project, right? But they were still able to engage with the history and the future of wire bending, extending their social corporeal and sends us knowledges to human interactions and the forces and flows of materials and the craft of architecture. Secondly, it advances the building direct grandma with new rules, imaging. And thirdly, it creates new social rules and practices. So wire bending is much more than the bending and connecting of linear materials to create structures. It's a tectonic language, a structural poetic that is tactile, embodied and experienced via human perceptions and knowledges that are spatial, corporeal, and kinetic. Conceptually, it inscribes a milieu of interactions between community, senses and the moving body while designing and making with static and dynamic linear materials for concurrent expressions of each in three-dimensional space. Is this a photo of my students and I? And so these new communities of wire bending practitioners, they can continue invention in the craft and its computational descriptions. This implies that intergenerational intercultural connections between traditional and contemporary practitioners is possible through computation. Studying tectonics through computational technologies can contribute to our understanding, critique, and counteraction of universalism. Along with the police lesson IS of architectural computation. In this adopt pavilion project, we designed and built an active bending structure built on wire bending practices for a lightweight exhibit in Barcelona spin. These were my students, so new Lu, Jamison, Karen, and Sarah. We presented this at cadre. And in this project we wanted to challenge the highly technological approaches to active bending structures. Active binding structures being structures that use the behavior, the stresses of materials in design. And so we wanted to challenge the highly technological approaches that currently exists in the field and in research in the field. Most projects that they employ multifaceted computer software, machines for design simulation, robotics, etc. I saw geometric analyses, FEM simulations with designers, computer scientists writing their own software and algorithms. So while these technological methods allow improve prediction and new production systems, they require relatively costly software subscriptions and computational power. Require highly technical knowledge and training and advanced manufacturing infrastructure. These are examples of some products. And remember instituted competitions. You want to pay attention to existing knowledges and skills. We want the kids to experts and non-experts. And consider appropriate computational infrastructure so that those missing can participate. Some related active bending projects that are sensitive to local material practices and skills include the CCB and two, bamboo Pavilion by Kristof Corolla out of Hong Kong. That includes local craft techniques and knowledges of the socio-technical and cultural for construction and these settings. And so we wanted to broaden the design space and the definition of done of active bending. Yes. To include those missing from the field and those not highly resourced when it comes to technology or x, with knowledges and soft way or software simulation tools. We want it to stress social, cultural, and technical knowledge is our setting and their relationship or possible relationships to active bending, using, making and incarnate well as our setting, we considered the cultures and histories of carnival, participation of design, InDesign and making by experts and non-experts. Building non-equity an existing knowledge using tools and technologies that are mostly used in the setting. And remember, I showed you this costume from 1984, 19871984 by Peter Mitchell. As these were active binding structures or 10 stanza hybrids. While we also pulled from our analyses from those costumes, on the right is an image of a pavilion, the first pavilion without in it, let's say it's main structure. So we pulled from these two, redesign and rethink our approach to active bending for that exhibition. Design comprise three circles that will pinched using fiberglass rods. And we use this approach for simplicity when it came to parking and transporting of our pavilion. So we had to go. The competition was such that each team had to take the pavilion with them to spin. So how we would transport the install and install or pavilion was a design problem that we had to address. And this is how we sought to address that problem. This is a scaled model of what design with the larger one behind. And this is the construction of full scale, what we call Pringle. Pringle unit. That was very alone. And here is us installing or pavilion at ISS. And the circular geometry allowed us leverage and factual properties of the fiberglass rods to link form, physical form to material properties. On the left is our entire pavilion in our drum keys. That's how we transported our pavilion. And so with this project, we demonstrated that by building on existing knowledges and skills in the culture and craft of design of carnival. A situated computation's approach could one broaden the design space to strengthen social and cultural connections? Three, link and advance culture, craft and computation and for employ tensions in society and materials, the drive and generate form. This is our render done by Karen to sort of illustrate this pavilion in its context. And by using situated competitions approach, people, communities and histories can construct and showcase active bending structures during Carnival festivities as shown here. Second, children and adults, crafts persons and others can make together using skills and knowledges and the carnival. And a situated approach to active bending or inactive bending provides an opportunity to integrate local knowledges, design practices, and the material behaviors as Dr was inactive bending so that structure, sociality, material practices and cultural settings are considered concurrently. So how might cultural practices in carnivora, we ship computation on an architectural practices, ideas and labels by creating new production systems, pedagogy, tectonics, and new conceptions of practices and structures based on cultural knowledge. This last project I will show this evening is a new one that was recently law, launched less than two weeks ago. More than two weeks ago. That brings together the machine learning heritage, art, architecture, and culture. This project goes phone, funded by the Mozilla Foundation. And the Mozilla Foundation had a call around artificial intelligence and its intersection with racial justice. And one of the questions. That we asked about this project was how might we educate our publics about artificial intelligence and machine learning? The room, cultural design practices familiar to them. Opposition was that we wanted to use AI and machine learning for the generation and circulation of cultural heritage and value. We wanted to showcase how creativity is tied to people's history, innovations. And that our expressions in our design, et cetera, can be used as vehicles to educate, loon, and explore, understand more about artificial intelligence and machine learning. My collaborators will Valencia, genes, or freelance performer, Mecca and researcher interested in Dance, Theatre and technology. And Dr. nitrous gas Gaines, who's actually Georgia Tech alumni and author of a new book, techno vernacular creativity with the MIT Press. She's an artist, an academic, and an author. And so our vision was an empowered, creative black and Caribbean Communities engage with Luna about and interrogate artificial intelligence to benefit ourselves and contribute to global discourses on AI through cultural practices of and in Carnival because we are already implicated around big data. An example is that of Cambridge Analytica, which we all know, right? That sort of gerrymander than influenza politics in many countries. The two intervened in our politics in Trinidad and Tobago by affecting who would vote and who would not food such that it, it advantage, let's say a particular political party, right? So whether we know it or not, we are already implicated in big data and artificial intelligence. So our goals are about knowledge. That is, teaching people about big data, its implications, its politics and its creative applications, about increasing communities beliefs and their ability, their agency to use a data creatively, to be critical about how the data were collected and used, and to be part of the discourse. As, as I mentioned before, we are often left out of these discourses. And to encourage black and Caribbean communities to engage in AI with AI and creative practices and education and to still be critical of its applications. So in this part of the project, we explored design possibilities by building our training set, data set of images of dancing sculptures to see what it will generate for us as drivers for possibilities. And again, to further extend making practices and design practices and carnivores. This involve building a data set, cleaning the, classifying the sorting data, etc. Used when we ML because of we can also use Google, Colab and TensorFlow. But the results from runway ML will better for now, right through the testing will happen with Google Colab. So having a robust data set was our point of departure. And these are some of the dancing sculptures are images of dancing sculptures that, that style GAN, generated for us. And what these things mean are on might be very speculative, very imaginary, but also exciting possibilities that we connect people to their history and connect people to possible futures. And this project is more than the generation of these design possibility, but it includes how we showcase, celebrate, and extend the carnival and different aspects of carnival using digital tools and methods. How do we touch the ground? How do we reach our computation of publics? How do we touch the public in the work that we do? There are several aspects of this project and I encourage you to check it out, but I'll just shade three parts of it. Reboot your gallery, the root, your UV, and if VT0 mass, this is a video of the virtual mass. It's on Mozilla hubs where these imaginary pieces are exhibited. There's also audio sort of walking people through the exhibit of carnival. Carnival is, I encourage you to check it out. And so I designed a model, the architecture for the gallery here, showcasing these dancing sculptures and inviting participation by visitors. The virtual Jew we showcases AI generated jab jobs, Blue Devils job molasses. I showed you some images earlier. And the audio describe the history of the, of these characters and kind of well, it talks about UV. It has videos and music cue reading this feeling of GMV That is scary and beautiful. These are some of the AI generated. Jab jams or Blue Devils. And the virtual mass here you can get a kind of a taste of what it might Feel like to begin carnival with different stages, to listen to music, watch videos and images on kind of go. So I encourage you to check it out. Some of the feedback on the work thus far has been brilliant, gorgeous, meaningful. Thank you. I'm a mako, so I'm MCU is MCU zombies are still walkers. They also call someone, mention that there are MCU and so thank you so much in me that day. Another comment was, this is exactly what I would like or country to do. The highlight of very rich culture as a player, MIGA, artist and educator. I keep driving the pointer, my fellow, our teachers, both the carnival arts and preserving the craft for future generations to improve on. Your team has done a great honor to the masters of the Golden Age and the future of mass designers to come. So check it out. So back to our questions, how my new investigations into craft, culture and cultural practices reshape and reveal hidden entanglements and design computation. And how my computation and software based practices reshaped craft and cultural practices by restoring, remediating and reconfiguring disappearing histories, practices and voices that can shape research, practice and education and computation. Also buying, forming new conceptions and tectonics of and in architecture, computational tools and technologies. By engaging with our publics through deep understandings of culture, societies, histories and technological possibilities. And by developing new research frameworks, new definitions, new practices, and publics. Taking us back to situated competitions, which attempts to ground our tools, methods, and theories in the social world by acknowledging these histories, these cultures, asda refused to remain ignorant of social and political structures that shape them. Future directions for this would include testing this free MOOC. And I think its possibilities even outside of design. But it creates a space for participation based on what I've shown for those missing in craft and technological practices, it resist the segregation and privileging of intelligences by building practices that engage multiple ways of seeing, moving at, doing. And it amplifies the stories of historically excluded or marginalized groups by deploying them and practice and dedication. And I thank you very much. Yeah. Okay. Again, thank you. And I'm glad you able to stay. Thank you. Yeah. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. Mm-hm. And so you just make sure I'm getting this right is your question around so that the translation between this kind of velo, site-specific study and applications outside of carnival and the craft. Two broad kinds of architecture practices. Mm-hm, Mm-hm. Mm-hm. Mm-hm. Okay. I'll I'll answer. Currently, I have a paper that's coming out. That very question, probably of that translation and how I use the ways of making and the new tectonics coming out of that project. For an argument of how we consider computation or regionalism, I call it. And how we can see the tectonics with the specificity of culture, craft and sit in making practices and where competition come in, comes in. So my response to you would probably be at this point, not big word architecture. What architectural computing, an architectural computation is where that translation comes in. Yeah. And again, happy to give what is my Yep. That's my next text. Teeth, right? Yeah. Yeah. Correct. Yeah. So that's my hypothesis and these sort of methodologies which may need to be tweaked more unlikely, right? Even the width research is conducted. So ideally I'm able to enter into different cultural practices, cultural science, craft practices and sides. Two tests. These tests the framework, but also the possibilities for communities, for education and architectural or larger design application. So, yeah, so my next test, case, dependent. Why am so figuring that out? A friend, a colleague of mine, who is interested, an anthropologist in textile based practices and toggle, that could be potential question. But really, I mean, I'm back here to try to find Crab cultural sort of design sites that can be a test case for building practices, bullying crafts, making practices around which people come together to explore these computational ideas. Am I do I plan on Shah? Yeah, sure. It was good. It was funny. We got we got so much out of it. Students are amazing. And those who continued in terms of the writing process, writing the paper up. It was a great, great experience. I absolutely know we always tried to set new, right? What that is, I don't know, but we'll try to do something like build on it, extended in some other way. Yeah. Mm-hm. Yeah. Good question. That came up by my sort of reflection on what I did. Projects I've done alongside literature, scholarship in STS studies or science technology society studies, media studies and feminist sort of theory readings are around access technology. It developed from all those things coming together. Of course, show. I could also just sharing people with you. Alright. So let us slides. It's coming. All right. There we go. Yeah. If you can be a little louder, I think I would hear your question and it'll come up a little more, something like that. Okay. Good question. I think what I what I will say is I think one of my new lenses and charges. And you will know that consumer in my workshop right, is around making us as computational designers or competition our publics because we are implicated, be more critical of our technological tools. Like we are. We take things and we just use them, right? And my goal is for my students to be critical of these tools, attempting to get beneath the black box of these twos. And because, for example, Autodesk, which we all love, That's an infrastructure that if there's like remember when they were sanctions on I think it was Venezuela and Adobe. Like if you had an Adobe subscription, you can use Adobe, right? So thinking of these things and lunches tools, but the infrastructures and how as students design as we become more critically interrogate or computational tools so that we can make the work that we do more accessible. And especially the social and kind of political leanings that have been happening over the past two years that we bring those sensitivities and knowledges to interrogate and be critical of the choosing mic, the tools we use, how we use them, who uses them to unpack some of the hidden things of what we do. Okay? Yes. Question. Mm-hm. Mm-hm. Mm-hm. Okay. So I like that question, Kristin. I would see is So two things. And now try to remember what I'm trying to say. The act of engagement of community hands-on making carnival is all about using things that are at hand, right? It's not like we're highly resourced. So you use your creativity and innovation with things that are hand at hand. And they're all, there's always this community thread of doing things together, right? And there is some time. So it can be with these sorts of very abstract way of seeing the world might not be the way ICT world, right? It's nothing. We, I quickly engage with the world. I need my hand to touch things, right? And so these spaces around physical material engagement and how it affords sharing, talking, unlike digital technologies, if we were to talk about social media while it affords community building, it also affords miscommunication that if I am seeing you and speaking to you, my discussion with you would be very different if we were on line. Right. So how we get the sort of face-to-face hands-on back together such that we see architecture as more than just the making of a building, but the result of the social and technological processes. So for example, in the Mozilla project, we did that online because for the past two years, many places carnivore was canceled and carnival is an important part like I people know, and February is coming, right? And to not be able to engage in that, Where's my space, the Celebrate to rejuvenate, right? And so the idea behind, or one of the ideas behind the Mozilla project is, is that digital space that you don't need to be in Barbados or in the US or the UK, but it's the digital space that you could come together and sort of read UV need around these experiences and carnival and meet new people. Because you could meet people in the space is also right, I would say are reinforcing community understanding that there are different ways that people engage and make with the world. I can't expect or ask a culture that is not. Programming is not the way we think or what we have access to, to understand computation that way we make. So let's talk about competition by that aspect. With which part of it. Okay. So which which part of the what I do is your question around us? Yeah. Yeah. Yeah. Yeah, absolutely. Right. Because argued like we tell stories. First of all, I see art as our voice, right? Anybody could, could, could have that voice and creativity with RPA architecture as a profession. So there's gatekeeping happen. Not everybody can participate, right? And so being able to and more democratized sort of making and design practices, how we could live in, in these spaces that include more people. And how that can be on trees into the architectural practice and how we include these communities, these ways of seeing the world in architectural practices. Yeah. Panels, lots of seasons or this is the third time I'm hearing. You talk with us for years again. And press becomes more critical, more sovereign but also expands AI, loss of taste and so on. So again, formations and so forth. So I started working mathematical computation. If someone sees my initial understanding of mathematical communities and design, north, lost this. Always. Try out. Alexandra knows this stuff, stuff but because this is like, yeah, textiles, are they not? He's been discussion when we find bargains state and to make things they used to be. So if someone is Alexander noticed, what would you say that? Yes. I'm fine with either answer honestly. Say yes or no. I would say it might. It's yes and no. And then little different. In terms of, for example, attempting to highlight voices and communities and engage them. How we engage them in our discourses, in computation. And the world view and sensibilities I bring to that framing is different from Alexander, right? But its parts, so for many people. Right? So that would be my answer honestly. So many people. Yeah. Yeah. Yeah. Yeah. Good question. Good question. So it's not about I'm in no rush. And what I mean by that, It's about the forming of these communities. Currently we have dying practitioners. So it's potentially the end of our practice. And we have publics who want to engage with computational technologies. So how we bring them together, right? So that they could learn from each other because there's expert knowledge in these vendors, these traditional ways of making that those of us with computational perspectives can, should and will learn from and vice versa. All right, so I'm, I'm all about the process and not necessarily what the product of the thing is, right? It's about how we engage these histories. We build these communities and new practices might emerge. What it's about filling that empty gap, right? No, that's happening between these cultures, histories and computation and where people want to use them. Yeah. Okay. Yeah. A colleague of mine did result in Muslim and did work in capturing weaving practices and escapes me right now. Mozi country that had the tsunami in Indonesia. All right. And there are works around like ship grandma wise, right? In terms of capturing, making practices and in media studies making tools and technologies that are specific to certain kinds. So corrupt practices and how digital technology has brought in that there's a field around, a growing field in human computer interaction around craft and computation and computational design. Yeah, there's, there's a body of researchers, knowledges are on these topics, electronics, et cetera. Yeah. Yeah. You're welcome. Thank you.