 So we're setting up, as you can see, we're going to present the ReLearn Summer School. It's a summer school we organized last year with OSP, Open Source Publishing. But we are also going to organize it this year and then it will be with Constant in Variable. Variable is a house we have in Brussels or we got actually in Brussels. It's a free Libre open source software art lab where we have four different ateliers on open source hardware, open source graphic design, open source video, open source sound. We try to connect those different fields and we also try to connect to people, artists, technicians. We try to connect people who are interested in this field or not yet interested in this field. It's a bit, it's a sort of LGM, but you know, Bruxellois, a bit more from the art side, I think. But Alexandre is, we're set up now and Alexandre is going to explain more. So can you hear me? Okay. So yeah, this presentation is about doing like a report of last year edition of the summer school we organized. But it's also an invitation for you to like actually apply for the next edition that will happen, I think in between the 11th of July. Wait, I need to check the dates. The 7th, the 6th. Till the 12th. Till the 12th of July in Brussels. So I would like to talk a little bit about why we wanted to organize this summer school and one of the reasons. So is that in art school? Digital is actually like everywhere. Even like if you're working, for instance, you're a designer and you're working on print design. It's most likely like you will use a software to do your print design. So in a way like print design nowadays, like very much digital. And this, we think that this digital aspect is not very questioned in art school. And like the way like editors like Apple or Adobe are presenting software isn't very helping because they tend to like they want to make the software transparent. Put it in the back so that you don't think about it. And we think it's like a missed opportunity because we think software is actually something you should think with or against. Because software isn't only like functional. It's also like an interface that is a way to communicate with you as a user. It's also like patterns of use, it's communities. So it's very much a cultural object as much as a functional object. And so what we like, why we're interested as artists in free software is because in a way free software makes it visible. Because the software, you know, that are developed by communities. The discussion are public through mailing lists, et cetera, et cetera. And so it helps to take into account this cultural aspect for us. So another reason why we wanted to organize this summer school was because many of us are actually teaching in art school. And we are kind of unpleased with the way it's done. So I will take just an example like the teacher student division divide. That tends to maybe lead to a more passive attitude toward those tools and what you can do with them. And what we would like to achieve in a way is to, like, rather than giving recipes, giving methods that can be reused and expanded with other software in other contexts. And there is also what's very difficult for us is also like the expectation, for instance, from students that you already master what you're teaching. And for that, we had the example of a workshop we did in France. And for the students, it was very disturbing that we came with a proposal to explore together a topic because they were expecting us to actually master that topic and we didn't. So it was a little bit difficult for that. So like I said, free software is nice because it makes the software visible again. Also because, like, the way knowledge is exchanged in free software communities very much challenge the traditional education paradigms. For instance, the fact that the knowledge is exchanged outside institutional borders and that the participant can move easily between roles. So I will just quickly present to finish on this last year's edition the different threats and the principle we set up. So we decided to organize three different, the summer school around three different threats. The first one was called Can It Scale to the Universe. It was about the question of transition from big to small, from analog to digital, and vice versa. And it was focusing on mediation, translation, and communication. The second was Gesturing Path. It was about rediscovering font through the skeleton. So the approach of drawing typefaces through the skeleton rather than their outline. And by that way to explore the relation between the body and the fonts, like the gesture and the fonts, and how it's translated into a digital environment. And the third one was organized together with a school named Cask in Hand in Belgium. And it was focusing, so it was called Off Grid, and it was focusing on patterns, pattern making. And so a few of the principles we tried to set up was to first, so these three different threats were more like about bootstrapping, like the school in a way. Because we didn't want to do a workshop, we wanted something different. So we decided to go for two conscious, two people who were responsible for organizing these sessions, among us, among OSP. What we wanted to do was to mix, okay, I will go faster than, mixing level of confidence, comfort, interest, fields, mixing, for instance, teachers, students, long-time professional, new practitioner, free software user, or people who are new to free software. We wanted, what we tried to do was to mix presentation time, installation time, sometimes installation can be very, like, boring in a way. I mean, it's interesting, but sometimes when it takes a day to install, like, a Linux distribution, it's sometimes a little bit too much. So what we were doing was to mix this installation time with presentation, with exercises. What we had in common between the three threats were a couple of tools, like Linux, GNU, Linux, Git, and Etherpad, for instance. And we wanted people to facilitate, we wanted to facilitate the move between one session to the other. So if you, well, you didn't subscribe to one session, you were free to move from one session to the other. You didn't like fork and make your own session if you wanted to. And we used Etherpad to make the documentation, taking notes, and we used this to make a PDF in the end, but I think Eric will talk about it later. And we tried to set up issue tracker, but it, I don't know, it requires some thinking, I think. We were very happy with the result, because we think many of the things we wanted to do, so like facilitating, like a more horizontal approach to education kind of work there. And we're now doing a new addition. So I will give the mic to Reis, who will explain. So, like Alex explained, is that the work sessions we propose are a sort of context. It's a visual context, it's a technical context, and it's a direction, it's an interest of us, but we hope that the session takes us somewhere else, because we do not know, we do not fully understand these problems, but we think that there is something there. So the first session we're going to do is the social shell, which is an experiment where we're going to set up a network of Raspberry Pis, a mesh network of Raspberry Pis, which you can access through the browser and then you have access to the shell through the browser. And we try to collaboratively write in the shell, and then this writing is a form of documentation, is an experiment with this new interface, but it can also be fictional. So it's a documentation on the summer school, it's an experiment on fiction, and how does this new interface, this collaborative interface, this remote interface influence your writing? What's the influence of all these different Pis, where on all these different Pis lives a different story? Playing Live is heavily influenced by the Pixels and Lines Orchestra, where they tried to turn programs into sound machines. So you have Scribes, Inkscape, how can you turn the input or output or the processes inside these programs into music? How does that, how is this conversion going? And with the playing live we're going deeper, further, like we're going back to bit level and we try to... It's interesting, we'll see how this actually will play out, because we have a very clear fascination, at least Alex has a clear fascination on bits and how these bits can completely ruin your file and can also get into a sound and how does, you know, it's a very small scale but it can also be a very big scale, the scale of movement or people touching, so we'll see. We claim your camera is an experiment to construct our own camera. We are going collaboratively build a new camera with Raspberry Pis or other techniques and we also try to rethink what a camera can be. You know, is it only taking pictures? How does it respond to its environment? And by constructing your own camera, as we, at least I have always experienced, by doing it yourself you always discover so much about the inner workings and the influences of your media. Drawing the imperfect circle really starts at the idea that we have all these very simple ideas or constructs in our computers like a circle, which is very easy, but to draw the perfect circle as a human but also as a computer takes quite some math. And for a lot of people this math is hidden, for you of course it isn't, but we're going to explore these algorithms. How does a computer, for example, with anti-aliasing tricks us? How does it try or pretend to draw a perfect circle while it doesn't at all? There is the open call, yes. Yeah, that's my, do you hear me? So as Alex said in the beginning is that so we are also here to launch an open call. So first of all an open call for the participant and also there is an open call for a workstation proposal. So I'm going to go quickly on the participant open call, which is basically that if you want to participate through this summer school edition, you have to send an email to... Registration. Any way you can read. And explaining a bit about you, what are you doing, and what does excite you in relearning something. And what do you want to come to this summer school? And so the deadline is the 25th of April and we will give an answer on the 5th of May. So and this summer edition we want to make a bit different. Like last year it was really into OSP group, all the proposal that we did propose for the workshop, the workstations. And so this year is already a bit more wide, like because this is all in between the Viab house, so there is, I don't know, yeah, you explain that a bit. And we wanted to make also an open call for a wider network, which is not only Brussels and only variable. So anybody actually can submit a proposal for this summer edition. What could be a good proposal? I mean what we think is interesting is if you manage to explain us, so in fact what does excite you, what you would like to experiment with open software, and so a proposal won't be necessary focused on learning open software, but more like what would you like to relearn. I don't know if it's quite clear. So and around that, there is like some classical frame on what will make a good proposal. Like you have to write something that will be in between 500 words and 1,000 words. You have to decide of two consciences. I will explain that a bit later. So two people will take care about the workstation. You have to decide to invite one guest during this workstation. And what's more? There's also some budgets. So we propose, we give you a thousand euros, and there is travel budget for one person. And participation is free for a person. Yeah, and there is also a travel fee for the guest. So what is a conscience? Because I think it's really important to explain that. So there is, you should be too conscience for a project. And conscience will mean that first of all that you will be there, the two of the conscience during the six days. It means that you are kind of responsible of the organization of the workstation, gathering materials and prepare and present the proposal during the first day of the summer school. But it doesn't mean that you will be the teacher during the workstation. Actually like last year, people who were the conscience of one proposal could also go to other proposals and other workstations. So it's more like you are responsible to organize the stuff in the beginning. But for that role, you've been paid and I think that's what I... And also the deadlines are the same, deadlines on the 25th of April and the result on the 5th of May. And I think I've said all. Maybe I would just like to mention that we did the documentation last year and we produced a PDF that if you go to the website RELOUND.BE you'll see at the bottom of the page, I think, downloading the PDF so you can download the documentation of last year edition to have a better... You can see. Yeah, and you have a life copy, like a printed copy there. And you can also order a copy on Lulu.com, I think. This is it.