The punch-card technology of textile production was fundamental to the emergence of the computer. Digital code is therefore closer to the principle of weaving than to the act of writing. In colonial contexts, characters woven into textiles often contained messages of resistance indecipherable to the colonizers. Similarly, colonial languages were appropriated or recoded by creolization. How can new texts be woven in today’s digital economies in which the infrastructure projects of multinational companies exploit whole regions? And how can code be written in creole?
Convened and assembled by Filipa César; Scenography by Lorenzo Sandoval (architect); Moderated by Diana McCarty and Joana Barrios; Sound by Jin Mustafa (artist and DJ) with Super Camarimba the Mandigo and Fulani village of Tabatô; Kriol proverbs collected and selected by Teresa Montenegro; With transmissions by Wendy Hui Kyong Chun, Chico Indi, and Zé Interpretador; Photography by Matthias Biber, Filipa César, and Jenny Lou Ziegel; CGI animation by Harry Sanderson
4 pm–4.40 pm Panu di Pinti
Odete Semedo (theorist and poet) with Saliha Pondingo von Medem (activist and founder of Nô Lanta Djunto eV) Seam
Joana Barrios (actor and author), Filipa César (artist and filmmaker)
4.45 pm-5.15 pm Sourcery
Wendy Hui Kyong Chun (new media theorist, via video message) and Diana McCarty (media activist)
5.20 pm–5.40 pm Terra Nullius 2.0
Mark Waschke (actor)
5.45 pm-6.05 pm Slam architecture
Marinho Pina (architect and artist)
6.05 pm–6.10 pm Seam Solidarity
Muhammed Lamin Jadama (photographer and activist)
6.10 pm–6.30 pm Glissantian Imaginaries
Nelly Yaa Pinkrah (author and media theorist)
Commissioned by the Haus der Kulturen der Welt with the support of Calouste Gulbenkian Foundation, Lisbon; Tabakalera, San Sebastián; Medienboard Berlin-Brandenburg; Camões Institute / Portuguese Embassy in Berlin; IBAP – Institute for Biodiversity and Protected Areas, Bissau. In collaboration with Cadjigue Collective, Volte Slagen, and Spectre Productions.