Content uploaded by Federico Bonelli
Author content
All content in this area was uploaded by Federico Bonelli on Jun 25, 2024
Content may be subject to copyright.
67 67
SESSION GUEST SPEAKERS
P. 68-86
P. 87-90
:
69 69
INTRODUCTION
When we started to design the game, we were following the illustrious example of Elisabeth Phillips that
actually designed Landlord’s Game, aka Monopoli, as a protest against the big monopolists of her time —
people like Andrew Carnegie and John D. Rockefeller.
Raffaella Rovida (2018)
I will in this article try to sketch a proposal for a methodology for societal innovation and design, shaped through years
and illustrated in two clear cases. I will guide you through a specific set of design concepts where some art practices
are central to the process. Will show how those principles are encapsulated into a table game I co-designed to show
another economy is not only possible but advisable and to learn to think along those terms creating resilience and a
better connection with ecosystems regenerating them. Along the exposition there is an introduction to the story of an
implementation of this methodology to a program to develop European Startups within the Next Generation Internet
(NGI)
67
.
I refer to these collection of methods as "art lead innovation" because the processes are designed. The processes are
designed through artistic tactics rather than uniquely by active participation of artists
68
. These processes are molded
to enhance participation of stakeholders and to be communicated properly to society, such a method proposes a shift
from solving a problem to set up a system that is able to recognize and use complexity and its known character and
welcome changes. Programs like the European New Bauhaus underline the need for a “pedagogy for complexity” to
face the difficult times ahead, a way to decline society towards a change in economic priorities using circularity and
awareness, a change in the use of energy, a sharp move towards sustainability and open collaboration on higher
democratic rationales. We will show how the concept of etheronomy and eutopia can work together to help this
narrative.
Complexity, in my proposal, once considered properly as an active agent within the designer’s strategy, can be used
to our advantage to shape of process that is more relevant than the result itself.
As for the game, it has been developed initially by a group, redesigned in many design cycles and has had an interesting
set of uses so far
69
.
Identity is an important part of the puzzle and will be explored along tree main lines: personal identity as it is
constructed within the processes of identification, the identity we assume in design processes and how can be useful
or toxic, and lastly the common intended personal identity and how should be to safeguard individual privacy and
agency in the hybrid data world. I advocate the melting down of the singularity of identity in specific cases, both in
67
Next Generation Internet. Retrieved from https://digital-strategy.ec.europa.eu/en/policies/next- generation-internet Directorate-General
for Communications Networks, Content and Technology. (2019).
68
Art and Science interactions traditionally mirror the scientific discovery into a glorifying art piece. So, to say is used for divulgative purposes.
For example, the "Collide International" program at CERN (European Organizat ion for Nu clear Research), which is part of the larger Arts at
CERN initiative. This program brings together artists and scientists, providing artists with "the opportunity" to collaborate with CERN's
"research community" and explore the intersection of art, science, and technology. The results a re modest.
69
This game is effective for generating useful and more informed conversation between participants and lowering the threshold for effective
participation of multiple stakeholders. These stakeholders might have deep knowledge of their specific field, be professionals, authorities
with different scopes and agenda, be or not established. It has been used to include in a participative setup all kind of people and to put them
in a situation that allows wanted behaviors. To do so has to cut through some aspects from rank, knowledge, ability of express their own view,
perdurance of a foreign language and give a minimal position to start to all participants. As such we set up a situation that is able to melt down
and fade to the background those character and frees, as much as possible, all participants from their "perceived true societal identity" and
puts them in a condition where they are free to test themselves into designing with the rules of another world.
:
70 70
the space of the project and the participative design methodology of the type of project such as the one we examine.
The act of playing out a role, that mimics reality and changes, introduced in a game like
Le Grand Jeu
in a workshop
environment, is a very effective way to convey information to form both effective collaboration between participants
and meaningful dialogue, precisely because it fades the personal identity in the background. Collaboration is better
constructed in situations that melt down ranks and allow changing roles in a fair way. Our standpoint is that this is a
learning that has pedagogical relevance. The game sets up a situation that enables participants to drop their "perceived
true societal identity" and instead places them in a context where they are free to test their abilities to - together -
design with the rules of another world. It consists in a protected field of experimentation with a leading learner, a
situation that mimics hack labs and living labs. This transmits an empowering sensation to participants, showing them
that they can create on their own if they learn and collaborate.
I will expose how we tried our methods within NGI-Ledger - an EU-H2020 founded project- where I shaped a program
to orient to human centric values sixteen startups wishing to operate in a delicate sectors for European infrastructure:
Personal Data, Identity Protection and Distributed Ledger Technology.
1.
Multi Stakeholder Design Processes
A multi-stakeholder design process (MSDP) is a collaborative approach to designing products, services, or solutions
that involves the active participation and engagement of various stakeholders from different backgrounds,
perspectives, and interests. In this process, stakeholders may include users, customers, designers, engineers,
policymakers, community members, and other relevant parties who have a stake in the outcome of the design project.
Key characteristics of a multi-stakeholder design process include:
1. Inclusivity: It involves inviting and incorporating input from a diverse range of stakeholders to ensure that
the design addresses the needs, preferences, and concerns of all relevant parties.
2. Collaboration: It emphasizes teamwork and cooperation among stakeholders, fostering open
communication, shared decision-making, and mutual respect for each other's expertise and viewpoints.
3. Iterative Approach: It typically involves iterative cycles of design, feedback, and refinement, allowing
stakeholders to contribute insights and ideas at various stages of the design process.
4. Empathy: It encourages designers and stakeholders to develop empathy and understanding for each other's
perspectives, experiences, and constraints, helping to build trust and rapport among participants.
5. Co-creation: It promotes a participatory approach to design where stakeholders actively contribute to
shaping the final outcome, whether it's a product, service, policy, or system.
6. Conflict Resolution: It acknowledges that different stakeholders may have conflicting interests or priorities
and provides mechanisms for addressing and resolving disagreements in a constructive manner.
I want to give some examples of multi stakeholder design processes I worked with:
1. EU funded projects: NGI (Next Generation Internet) from design of the consortium to final evaluation can
be seen as MSDP. I worked for one, NGI-Ledger in 2019 and participated in the writing of many more. The
project is created by peers in a design group that takes in account a group of partners that will enter in effect
only if project gets approved. A core group writes down the project, all partners agree on deliverable and
costs, the project has a stirring committee (if is big enough), has a system of peer review for the deliverable
evaluation and is evaluated and funded for by the European Commission in tree or more phases.
2. Regenerative participatory projects: depending on the scale can be on owned or common land, but
depends on neighbors, shared analysis, access to information, local and national laws and regulations,
:
71 71
animal lore, contingencies etc. I have participated to initiatives and groups that use permaculture design and
this has been seminal to many of my ideas.
3. Social Housing and real estate, for example at the scale of a whole neighborhood or small city as when a
large dismissed industrial area must be cleaned and developed or where a small village must cope with
depopulation and loss of purpose.
4. The establishing of a non-hierarchical cooperative, particularly when the evaluation of circular value
flows or environmental impact is relevant and when work must be compensated, including voluntary and
pro bono one.
5. Software design in open source environment, especially when it is keen to influence the safety of a wider
infrastructure and aims to take account and compensate in a fair way the work of key developers.
The principal bias present in many cases is what I call the problem-solution bias.
Most of MSDP are not to be enacted for the scope of solving a problem. They happen to be framed like problem
solution to fit the allocation of resources to buy a solution due to political considerations.
In another perspective, when the MSDP involves components and agents and many different technical constraints,
many issues are presented yet a problem is hard to identify. Problems identification creates conflict and often is
prejudicial to a hierarchical way of thinking that is influencing the process in an often-nondemocratic way. We hide
usually behind the notion of "a problem" the hard reality that someone has to be paid to find and enforce a solution.
An example for me is migration. I see it as a phenomenon. People, family groups, lonely searchers and so on move
from a place and a status to another. This generates friction, has advantages, pitfalls, complexity. Forces act along
conflicting agendas and if you see this as a problem that can be resolved only applying force your power of oppression
will hit first the most vulnerable subjects. Migration is about people: to define it as a problem implies that a solution
exists, and this should be demonstrated. Defined for example as a phenomenon migration can be guided, shaped,
studied, integrated in a societal structure and be intended as a resource. A larger group of stakeholders should include
the migrants themselves, since they have legal and moreover human, rights. Therefore, designing technical solution
in that space must take in account all the complexity, in a participatory way with all stakeholders at the table.
In scientific methodology we would say that we can build a model of a phenomenon where the enforcing of certain
parameters would lead to a forecast of the system evolution. Furthermore, a large group of people should agree on
what is a wanted state for that system. Ethics should apply.
To obtain such condition locally in MSPD usually some stakeholders are pushed out from the design process. As an
example, UX design can be made by highly paid professionals dealing with abstract personae in mind, yet
paradoxically these “personae” aren’t expected as well to take part as well in political and societal events, like to vote
to the local elections.
The second bias in order of magnitude is the value to market bias.
That a market exits for everything valuable is an economic axiom only for certain economic doctrines and we can find
many counter examples where there is no market, one being the majority of EU founded innovation projects.
According to this bias all, from value of time to soil quality, to innovation or the teaching of a university course, can
be valued by taking it to the market and cashing in. Where is the market in societal endeavors? Where does it speak?
Our mere experience of life contradicts the idea that every dimension of our lifeworld may be reduced to monetary
value, or said in a different way, measured with money.
Yet the best argument to qualify this as a bias is to connect it with the next bias: does it allo w the necessary algebra
between local gain and global loss (in case of unhealthy products, or war, or speculation and so on). And the more
:
72 72
obvious question about who owns the market and how makes it function (as known in the middle age the problem
was clearly solved).
The third bias is therefore the unit of measure bias; this is the idea that the price of something, rudely measured in
money, evaluated by market or another social agreement, is an objective measure of its value. And that the measure
can be proven by bringing the product to the above-mentioned market in the right time. Everything that has no price
has no economic interest. This implies that no accountancy is legally possible outside bank made and state enforced
money systems. To put on hold this assumption opens very interesting possible ideas of socio-mathematical nature
connected with complex systems one as ergodicity and the general interpretation of probability. Talking about value
is an opening concept that resides in the space of those biases, and I did play with it with Le Grand Jeu game.
MSDP are better suited to hand out the flows of values and to measure them. This should be integrated when the
project is on the go and not a-priori of the analysis as it is established by KPI's that are requested in the design phase,
so before the project is financed.
After a proper analysis by the whole of the team resources that are abundant locally and therefore available can be
preferred to others, data can be acquired, tokenization becomes a possible strategy to increase, recognize and
compensate, as an example, citizen participation. Value flows
70
can be accounted for in very strict ways via REA ontology
71
; are backed by law and can have other benefits and pitfalls
that are still not very clear but deserve to be explored.
2. Le Grand Jeu
Le Grand Jeu is the minimal situation I could think of to avoid most of the biggest problems I had encountered while
setting up participated MSDPs. Lack of knowledge and fear to lose rank in participants, all kind of bias especially
economical or technopolitical and absence of a common language. often the stakeholders were not really involving
themselves in the design process for real, they were just careful to keep business going.
The game was designed by Raffaella Rovida and me initially during an artist in residence in Macao, Milan in 2016 and
refined afterwards. We gathered as co-designers an extended expert group and had the active participation of many
of the activists in the squat organization and later of all kinds of experts that played it.
In 2016 Raffaella was Head of Research for the Copenhagen Institute for Interaction Design, and I was working within
dyne.org, a small open-source venture and hacker community. The idea of a game to talk about money and democracy
was asked to me in the context of closing and reporting a European project around complementary currencies use D-
Cent
72
. I applied immediately the game to a series of multi-stakeholder workshops organized in the subsequent
project named PIE-News/Commonfare
73
Le Gran Jeu
is a French translation of the English phrase "The Great Game", which was popularized in 20th century
70
https://www.valueflo.ws/
71
REA (Resources, Events, Agents) is an accounting ontology that provides a framework for modelling and organizing accounting
information within an organization or a federation of them. It was developed in the 1980s by William E. McCarthy and is gaining attention
in communism and community currency design.
72
D-CENT (Decentralised Citizens ENgagement Technologies) was a Europe-wide project bringing together citizen-le d organisations that
have transformed democracy in the past years and helping them in developing the next ge neration of open source, distributed, and privacy-
aware tools for direct democracy and economic empowerment. The EU -funded project started in October 2013 and ended in May 2016.
https://dcentproject.eu/
73
https://cordis.europa.eu/project/id/687922
:
73 73
diplomatic circles in reference to the 19th century clash of European empires in Central Asia
74
. In French, the term
Le
Grand Jeu
first referred to tarot card fortune-telling. In Italy is usually referred to in French, as it was the language of
XX century diplomacy. The name is a symbolism to the secret treaties and games of spy and aggressive imperialist
colonial policies that brought the world to WWI and - as an extension - refers to what happens in the big systems
outside and above to our collective agency, us, the players, that must adapt and survive.
We have open sourced the game design
75
because it intends to take a precise (open) stand about intellectual property
in the way it works in its dialectic with his own rules (and the narrative about the games played). You can find a in
depth analysis of it, together with a wide array of other types of money games and how they can be useful to talk
about other economies in an open access article published by Degrowth Journal
76
and curated by wonderful and
knowledgeable academics and myself.
I named the game
Le Grand Jeu
, yet what the player plays for 2-3 hours and then reflects on and talks about is the
small one, while playing they can make their own adaptation to "the distant forces of history".
To play the game is to design an open ended space were externalities are accounted for, transparency is radical,
communication is possible, knowledge circulates, resources are to be reused in circular ways and democracy is direct.
Players assume a different identity and have fun, that is a hint in the realization that you can enjoy life through
adversities.
The gamer in his first game sees a local setup, a valley for example, a bio region or a small island to set him in. Those
remote forces the play is subjected are actualized by 2 elements: a stash of white and black stones of Go (the Grand
jeu remote bank) and a set of "LGJ Events" cards that are to be picked up in certain moments of the game. According
to the game flow rules can be introduced or created with the consensus of the players.
Our small island is not immune to the consequences of external events but learns to adapt creatively. The introduction
of the notion of "karma" and feast that allow to burn it. Participants are encouraged into showing their true values
both in-game than in the conversations that ensue.
The stones of Go are used initially as coins to account for energy and externalities. The symbolism of Go stones relates
to the Taoist idea of transformation but I never explain this to players, there always someone that says it. In various
games played this simple suggestion that money can be a design tool gave rise to interesting creative invention by the
players as a "green" money to create liquidity for regeneration projects or a "red money" to be created within
knowledge pools. This is because the players can change and create the new of the game using what is on the table
and their inventiveness.
74
On the history of "the great game" see Peter Hopkirk, The Great Game , 1992
75
All can find a description of the game, with all the necessar y tools to make one set and play on the website (www.legrandjeu.net) and fork
it (make their own version) on github. Link is this one here https://github.com/freddbomba/legrandjeu . Le Grand Jeu is licensed under a
Creative Commons Attribution-NonCommercial 4.0 International License. The noncommercial clause is to avoid exploitation -if possible-
by publishers, like it happened to Ellen Phillips.
76
Pets, M., Eskelinen, T., Bonelli, F., "Le Grand Jeu and the potential of money ga mes for exploring economic possibilities", Degrowth Journal
Volume 2 (2024), February 2024, DOI: 10.36399/Degrowth.002.01.01
https://www.researchgate.net/publication/378150137_Le_Grand_Jeu_and_the_potential_of_money_games_for_exploring_economic_pos
sibilities
:
74 74
figure 1: LGJ game at DTU (Technical University of Denmark) within the EUROFUSION game adaptation. Photo by R. Rovida
The depth of issues that relate to the concept of money are only hinted by the practical use of the players in the game
of the two currencies
77
but in two and a half hours playing them out builds very useful conditions for setting up a
MSDP efficiently, especially because playing zeroes ranks of participants but not their ability to contribute, which
allows the emergence of new configurations.
I see the game as a tool as one of many to create conversations, using a common language that can be built together
as we play. If we are successful in starting up collaboration every decision taken can be enlarged by readings and
studies, co-designed and implemented as a process of a multi stake holder project where everyone is invited to
participate.
To the two stashes of coin that are held by the game facilitator. In the tradition of role -playing games, I called him
the"Game Master", hitting sometimes certain the remarks by participants about “master and servants”. It must be
intended ironically. Someone seemed as well sensitive to the "black and white" colour of the coins. I took the habit,
when taking the role of the master and introducing the game, of making a random choice in the beginning, on which
colour of the stones would represent externalities.
The first game with a group of new players is set up in less than 5 minutes
78
. The ideal number of players is 5 or 6, else
the turns become too long
79
. It is advisable if more people are present to make teams. Every turn the player can decide
if they want to build something and invest, if they want to call an assembly to discuss a law and the use of the local
budget that is collected for example with taxation or to invent something in the word of the game. They can as well
invent a new rule of the game. The GM is going to take care of various aspects such as the non -playing elements of
the scenario, modelling the wishes of people with dice rolls etc.
The GM considers viewers participants as well. After people have played a test game you can open other tables and
77
I used many times the world "sugar" while referring to money, to distinguish money from value I say that you cannot make a feastly dinner
only with the equivalent in sugar of the food you intend to serve.
78
In explaining the game often, we tell the story of Monopoli: a ga me originally developed to demonstrate the feasibility of socialist and
progressive doctrines of Tureau by Elisabeth Phillips, that patented it in 19 03. The monopolist version of the game were a bank takes the
place of "mother Nature", was eventually claimed by Charles Darrow as his own and sold to Parker Brothers that paid him pennies and made
millions.
79
In the rules I write 5 because is a good hook to stories about the "circle of five" conspirators of to the role of the cycle of fifths in musical
improvisation
:
75 75
let other participants master the game. To be a GM is a good training to the role of coordinator for trasformatorio lab,
so the expert must give it as soon as possible to one of the players present to keep them active and engaged between
peers.
Other elements necessary for the game to be played are:
• the board, that allows to account the space and the infrastructure that we call "the grid". Is transparent so
that can be overlapped to other informative elements such as drawn maps.
• the units of property of the space, small equilateral triangles that are "singletons" of a grid, can be clustered
to make micro grids and owned or rented or in other way used by players during the game.
• multi-faceted dices - here as well there is a relation with traditional role play games like Dungeon and
Dragons- a throw is a representation of a aleatory event.
• a Wheel of Fortune (shows probability as distributions)
• coloured clay, post it, pens etc
• and 2 types of element boards cut from white polycarbonate to be able to write on them with white board
markers that are used to build activities that process resources and cope with externalities
• two sets of event cards (white on black and black on white) to represent events that might happen to the
player or global events
so that anyone can make their own board and game set and test by themselves the ways of open source. Some remote
games have been enjoyed on a miro board or on paper cut elements.
figure 2: a miro board after a game. Source: legrandjeu.net.
There is a moment, at the end of the game were the coordinator of the activity starts to name, on the table all the
elements that the people have created in the play. Those are the elements of the toolkit with which they can design
their action, sometimes they are existing ones.
3. NGI-Ledger
The Next Generation Internet (NGI) is an initiative of the European Commission, introduced as part of the European
Green Deal in 2019
80
. In one of the first round of NGI projects I have been involved in 2019 to design a course to
80
The Next Generation Internet (NGI) is a European Commission initiative aiming to shape a more trusted, secure, and inclusive Interne t.
:
76 76
qualify startups and create a different approach to incubation of startups that would take in account the idea of
Human Centric Internet technology.
The aim that many calls for project NGI shared is to involve multiple stakeholders from society at the same time
around a table. This is not only a procedure of a participatory democratic process but an attempt of cultural shaping.
I participated in another H2020 EU project that was broad in scope and shared a similar narrative, DECODE, "a
response to people’s concerns about a loss of control over their personal information on the internet.". In this project
I had acquired many notions about the functioning of the legal and technical infrastructure that allow data pools
formation and exploitation. One of the objectives of DECODE was to design elements of digital infrastructure with a
different concept of identity in mind, such too allows pseudonymity in certain situations, still disclosing key attributes,
for example that the identified person has more than 18 years of age while buying alcohol, without disclosing non
necessary ones, as their address and family name.
In the case of NGI-Ledger I was tasked to contribute to design an experience for startups team in the space of identity
and blockchain technology that allowed passage of information from the technical and legal stack of DECODE,
incubation of business ideas into companies and subsequent cascade funding.
Effective project design and implementation process where something new must emerge and be embraced and
adopted by many different entities is difficult and risky. My work was an activity of design in what I consider a
pedagogic process that could be studied even in case of failure, so that a framework to grow ethical and green
innovation would emerge in the sector.
I set up to the task with two perspectives: one considers some of the principal instruments available to design with
complexity I had available in this moment, the other my experience with trasformatorio lab and Le Gran Jeu. This was
my interpretation, at the time shared by all: in the consortium, by the guidelines of the call, coherent with the theme
Identity, and Data Sovereignty and with the concept of Sustainable Finance.
The holistic approach of the NGI H2020 call was far from being a surprise, as was more the product of an extended
line of thought and research I have been part into since 2002 and consists in a louse
Thinking Cloud
of people involved
in all kinds of projects and open to discussion, exchange of ideas and information, passing from Amsterdam.
I presented and proposed my work for the NGI Human Centric method of growing startups in various special groups,
including NGI-Salon one and published slides and results on the Trasformatorio website. Unfortunately, what lacked
was protection from above and the experiment was closed with slamming of doors and little traces.
NGI seemed at the time not only trying to address the pressing environmental and societal challenges posed by the
rapid expansion of digitalization, but also intending to harness the transformative potential of available technology
to build a more sustainable and equitable future and include some of the ideas of innovation pushed by the occupy
movement in 2011. As far as I am concerned, I felt I had been part of the "pile of hot compost"
81
were these seminal
ideas had taken all types of form since the end of the 1990'es and was part of my intention to relocate to Amsterdam
in 2002.
But let’s go into the details of the methodology of the Trasformatorio Lab that is set out to collect my personal
experiences but -as for the game- has been designed to allow transformation without personalization, so can be
learned and enacted without me.
With an initial investment of over €250m (2018-2020) supporting 1,000+ researchers and innovators, the EC continues to fund NGI projects
under Horizon Europe initiative. https://www.ngi.eu/about/
81
The term is referencing directly to Donna Haraway, staying with the trouble, Making Kin in the Chtulucene, Duke University Press, London
2016. Is a text that seems, between and above the lines, to appropriately describe the character of the period I lived throug h.
:
77 77
4. A description of Trasformatorio methodology
• Trasformatorio is set
in vivo res
. You must be within the context you want to apply to, there is no
abstraction layer between the stakeholders and the societal conditions the project must be applied in. For
NGI-LEDGER bootcamp I took the participants teams for a full formed exercise in an area of Sicily comprised
by the city of Milazzo and part of the province of Messina. In this environment I could show the teams all
kind of contradictions between communication and logistics (build on the experience about how to get
there) and resources (the harbour, commercial fishing, the castle, tourist attractions, the marina area, the oil
refinery and so on). We used our knowledge of the place to at the same time allow the teams to flow from
one node to another of our own local network and to discover by themselves new elements to be added to
this knowledge.
• Trasformatorio must be applied when participation is welcome. It can be that criticism wants to be
shaped in positive directions, for example in the field of design of projects within participated budget in the
commons. Feedback is not only welcome, but we want to shape it in forms that are usable to shape the
project. We must teach to participants and allow usable and positive feedback
• Situations are designed to allow positive feedback and discourage sabotage. Spam, sabotage and
toxicity of behaviours are possible and if stakes are high their force grows in inverse proportion with the
perceived value of the project.
• Project must have high stakes for the participants. Performative arts projects have often an existential
motivation and a strong open component. In the NGI-LEDGER case this exercise would lead to an evaluation
of the 16 participants that would unlock only for half of them the access to another part of the founding.
This X-factor competitive setup was not optimal to build collaboration and created many problems.
• The facilitation core group is an experienced artist production team This -value aligned and battle
tested- core group must create and control a situation within the place were all are considered as
participants. In NGI-LEDGER bootcamp for example we prepared to the arrival of the teams in a
environment I had worked in during previous 4 editions of the lab in 8 years, with the participation of my
production team composed by Giuseppe Morgana (art expert and producer), Emanuela Ravidà (Visual
Artitst), Mosè Previti (Art Critic), Simona Tarantino (Artist), the videographer Margherita Diurno and myself.
All the team components aside of Margherita and myself are originally from Sicily and lived in Milazzo and
the province of Messina.
• The designer effort and attention are set on the component of the situation and to their flow. In NGI-
Ledger program I followed the teams in the previous 6 months in a variety of workshops. The bootcamp
was set to be the last of these events before the team effort was evaluated.
• The narrative of the work must be shaped and controlled by the designers. In the NGI case this was
one through the documentary form of the documentation taken https://vimeo.com/376193538. and the
form of project deliverables to be authored by the members of the consortium. The extra layer of difficulty
of training them as well to this type of action -and therefore integrate them into the methodology- created
extra layers of complexity.
• Trasformatorio is designed with some level of friction in mind. Friction between participants, between
ideas and ways to express them, with the environment and its inhabitants. Sometimes the energetic forces
involve breaks the dam in the foreseen directions, sometimes in ways that can be controlled, sometimes not.
:
78 78
What cracked my NGI-Ledger plan in the end was, to use the available metaphor, the big game inside and
outside the consortium. I had to resign in 2020 and the project was saved by the high tolerance to failure
induced by the covid19 pandemics.
• All are to be considered participants at equal right, either internal to the production group, to the
consortium people that had various roles in the bootcamp exercise and to the teams of the startups, that
represented a variety of different approaches. We used our network to include actors in the situation. For
example, the owner of the hotel, former president of the local commerce association, the chef of a local
high-level restaurant as an expert of food, the director of a local brewery and the director of a
electromechanical research facility as well as the director of a technical high sc hool and the one of local
foundation that owns much of the land. The situation we created, taking in account the presence of the
startups and the umbrella of the EU project allowed us to approach any other instance or curiosity proposed
by the teams. In the trasformatorio Lab, where the external component is more limited but the time for the
interaction is longer is important to include in the participants as well the inhabitants of the village or
neighbourhood that have been encountered by the artists during the production phase and that will
transform in accomplices or enablers of their performances.
• The outcome is not known a priori. This is a change of prospect that should be included by default in
projects that are about innovation but is not. For example, the project have to state the objective before it is
financed, its budget has constraints that allow only small movement of resources and the outcomes have to
be measured by KPI stated a priori that don't cover usually the most innovative findings of such type of
project for which we advocate the use of art lead methodologies like trasformatorio.
• Trasformatorio is set to recognise (and eventually exploit) Serendipity through guided
improvisation
82
. This happened in many ways during the work for the NGI-Ledger bootcamps. In this the
guide into developing the methodology takes much from post-dramatic theatre and performance arts were
projects have a short life cycle and teams are gathered and dissolved fast and produce their own materials.
Has then became standard that the creative team works together with the technical team and interchange
roles.
What is the role of guided improvisation and were can be set up and learned by all stakeholders of a MSDP?
5. About complexity and the notion of situation
Complex systems typically exhibit several key characteristics that corresponds to mathematically described
characteristics that allow us to implement them on a computer and simulate their evolution.
Since I was a 15 years old kid, waiting the whole night for the calculation of a zoom in the Mandelbrot set, the
possibilities of computation opened up mathematics to experimental, qualitative exploration to unprecedented
levels. This has not yet given rigorous responses to main questions about the mathematical nature of those objects or
shred more than a small light on their nature, yet we can see them in action, simulated on our everyday machines and
build a heuristic about them.
Some of these characters are Emergence of structure and properties from the interaction of parts of a different order
82
A complete description of this characteristic of the trasformatorio methodology has been exposed in: Sauer, S., Bonelli, F., "Collective
improvisation as a means to re sponsibly govern serendipity in social innovation processes", Journal of Responsible Innovation 7(4), 2020,
DOI: 10.1080/23299460.2020.1816025
:
79 79
of complexity from the analytical rules that governs their behaviour (bids
83
, fractal self-similarity etc.); sensibility to
initial conditions, as such two evolutions of the same system might differ greatly in a small unit of time due to an
infinitesimally difference in their initial state. This makes prediction problematic. Moreover, there is Self-organisation:
complex systems tend to modulate their behaviours to adapt to change to their vicinity; border conditions become
relevant, and so they seem to adapt. And all those are properties in the model itself and a character of the simpler
nonlinear feedback systems in physics. By analogy these characters have been extended to other systems
characterized by abundance of "data"
We might add the general notion of "the outside world" that is not in itself a complex system: it can be described as
the interaction of many systems, but defies a unique description, not even for exact sciences, because is open and
because it is a construction of which we are part.
I refer to this as the "Open World Assumption" even if I don't use it only in a strictly logical sense, but I extend it t o
physics. No system can be perfectly isolated from the environment and every action in the world is open to
interference. The world exhibits surprises as a rule and any plan can only deal with known knowns, known unknowns
and is left to the mercy of unknown unknowns. Every plan might be devastated by the intervention of chance. Of the
latter it might be sufficient a very small one to complete change the outcomes.
Similarly, our mathematical descriptions of the world are often amazingly powerful models, and they can be put in
existence in the world thanks to technical and temporary boundary conditions. I agree with Poincareé when he said
mathematics is a peculiar language
84
:
"Les mathématiques sont l'art de donner le même nom à des choses différentes."
Words can be used to describe complex actions to talk to someone or to make poetry. The relationship between
mathematics and things is precisely a technical semantic relationship, with at least three components: the thing we
put out in the world, its model, and the context in which the thing is found to operate. We embrace this as a fact we
don't need necessarily to understand. We dive from situation to situation with or without a description of it, and not
with a unique description.
Being part of a situation, technical objects can be designed to satisfy a function, or can be
détourned
, used for other
purposes, hacked. You can happily use a coffee machine to crash a nut or to say I love you in the morning, or to
cannibalize it and make other things with it, as a poet with his language can do. Some of these other uses can be found
by changing the situation.
"Les objets techniques sont des organes des milieux techniques. Ils ont une fonctionnalité immanente par
rapport à un milieu donné, mais ils ont aussi une transductivité qui leur permet de se déplacer d'un milieu à
un autre."
Jacques Simondon (1958) "Du mode d'existence des objets techniques"
The one presented here is methodology of design for innovation based on art methodologies that can operate in the
real world in carefully designed situation.
So far, I introduced for the phenomenological notion of the world as it is observed by all participants while they plan
or perform an action a situation
85
83
Boids intended as autonomous agents, as in:
Reynolds, Craig (1987). "Flocks, herds and schools: A distributed behavioural model".
Proceedings of the 14th annual conference on Computer graphics and interactive techniques. Association for Computing Machinery. pp. 25–
34.
84
I hint here to constructivist ideas about mathematics, and therefore of virtual realities and anything that can be computed. As a practitioner
I believe that such a skeptic stand is more useful than a firm belief in the existence of theoretical elements, and therefore, to feel bound the
prejudice of coherence.
85
Guy Debord emphasized the importance of the situation with the notion of disrupting it. With subversive actions (hacking) we show the
:
80 80
Situations are designed in multiple arts, that concretely and effective guide the human curiosity and spirit through all
kind of transformative experiences. Cinema, Performance in the street or in a black box theatre, religious experience
in a church or in a ritual in the woods, dances, the burning man or other techno-pagan rituals and so on.
Noortje Marres says "Situations are considered valuable foci precisely insofar as they present moments of
disruption”
86
. In other works, where rules can be broken down and can be reconsidered creatively.
One methodology of design for complexity I learned a lot from is the production of an independent movie, another I
have nothing to do with is planning and execute special operations in conflicts. Another is the running of a multi
stakeholder consortium of firms in a EU founded project, start to finish, without burning out.
Humans have evolved many ways to adapt to complexity. The first thing to observe here is that those arts -the art of
performing, the art of movies, the art of war and why not the art of EU-project survival- are essentially ways to do
stuff. When you do you are in the thing, in the situation, in the open sea, on stage, dealing with the living injured body,
in Indian territory behind the lines. It matters.
The existence of known unknown and unknown ones is not the only thing that
lurks under the surface
and out there
you need all our rationality and understanding. Some human methodologies have evolved to allow us to cope with
complexity. Understanding is important. As it is knowledge but is and cannot be all. Planned action is not taking in
account only knowledge, is to have courage, allies, voice, awareness of change, resources and so on. You must train
into be the world and improvise. To do things is about be open to recognize patterns and change course, and then,
eventually, introduce innovations or change plan.
We study history and biological sciences to learn about and overcome the limits of our knowledge, to have a sense of
understanding and control. Yet we continue to make mistakes, fail. And we continue to realise plans in the face of
shoestring budgets, uncertain futures and conflict. We necessarily embrace situations, we repurpose, improvise.
6. Trasformatorio for multi stakeholder projects
Trasformatorio is born as a laboratory for arts that produces new ideas outside the box. It wishes to create a group of
peers and allow them to act. The event is temporary and unsustainable like a party, we produced it, lost money on it
and created a lot of value. Value is created and shared by all participants and hosted by the community of a remote
location. I developed this concept, that then evolved in a proposed way to design for innovation with the Laboratory
for site specific arts. Site specific is art that is developed in the world where the world can be a stage, a character in the
play, your enemy or ally.
The idea to move out from my experience in the arts, particularly multimedia installations and open-source software,
independent film making and media rich time-based arts came when I was exposed to collaboration with industrial
creative research at Philips in 2004-2009. I felt we happened to be much freer to innovate and effective in doing so.
We all should be familiar by now with the policies and the design methodologies that include a role for the artist.
About what are generally considered adoptable methodologies for writing and running innovation programs that I
implicitly criticize there is Agile and Design Thinking methods that, if being operatively applicable in many cases were
the stakeholders are aligned on the definition of the frame of application, are somehow inadequate to construct a
true nature -for example- of oppression. In the context of Guy Debord and the Situationist International, the term "situation" refers to a
moment or context characterized by heightened awareness, critical engagement, and the potential for transformative action. In the arts the
situation can be massively constructed but a characteristic is that the play, both as in a game and in a representation is sa fe. What we learn is
(possibly) not going to kill us.
86
Marres, N. (2020). For situational analytics: An interpretative m ethodology for the study of situations in computational settings. Big Data
& Society, 7(2), 2053951720949571.
:
81 81
multi stakeholder social innovation project. They set low stakes.
We are forced to take in account the difficulty of defining the different agendas in a problem -solution scheme were
the problem and the agencies of the stakeholder are defined by the strongest party. Framed between ethical
considerations and friction such tasks are not able to show real participation and therefore adoption.
These hardships that I have encountered in my experience might have a small place in history in design but have a
very long one in art collaborations and other type of cultural production.
Participation pivots on two different attractors: one is the narrative of the intervention, made by the most successful
stories circulating about it, and the other the complexity of the endeavour that contains the plausibility of the adoption
of a new tool introduced in the process. When design is enacted by a community of peers, coordinated by a core group
and immersed in a situation that involves the place it needs a shell. It has to enlarge to the maximum the participants
and stay open, not always simple tasks were relations are already set and cemented. This is why trasformatorio is
designed to be temporary. It contains the notion of creative sprint but cannot sustain it.
figure 3: slide from a presentation, image by the author
The activity to concentrate upon is determined collectively in a way that is owned by the group, or in some cases with
something like a dragon dreaming
87
.Follow ups need to be built from the outcomes of these interventions and in no
way
a priori
.
In the above picture the goal is such and will set in time while working on the space of stories and in the space of
things done to reach it. As you see complexity mirrors information and the attention must be put into the development
and maintenance of the culture that sustain the collaboration, like for a permaculture garden must be put in the health
of the soil.
87
Dragon Dreaming is a methodology developed by John Crof t and Vivienne Elanta as a framework for project design and community
development. While there might not be a specific scholarly reference in traditional academic literature, you can find more information about
Dragon Dreaming in their book:Croft, J., & Elanta, V. (201 5). Dragon Dreaming: Introduction to Dragon Dreaming. Available at:
http://www.dragondreaming.org/wp-content/uploads/2015/0 6/Dragon-Dreaming-Introduction-EN.pdf. We used Dragon dreaming with
success with the habitants of a small village that were in the process of finding what was the way they wanted to look f or sustainable living
in the village. See TR 21 Collective Report, trasformatorio publications 2021, ISBN 978-1-6780-3674 available for free from the
trasformatorio website.
:
82 82
Some explicit examples of multi stakeholder design process are EU founded projects where stakeholders are gathered
by the designers of the project proposal 4 to 5 years prior to the final evaluation process. In societal form we can think
to a wide variety of projects were to design an action in terms of problems to be resolved by an innovative solution
forces an ideological standpoint that collides with some of the stakeholders implicit or explicit interests or is
ideological in nature. The narrative of the project is very important and might cause the success of the project.
In the case of Free, Libre (or) Open-Source software development, very relevant for the media art scene for at last 30
years, we have another different case of multiple stakeholder innovation: development can be forked and adapted
and sometimes evolves collectively into such a level of complexity that the determination of very wide policies about
digital infrastructures are necessary.
7. The role of identity in multi stakeholder endeavours and the
case of Documenta 15
In the recent years a big effort has been taken up by progressive parts of society to deal with identity in design. It is
not the scope of this short contribution to deal with the amount of insight and research produced in this regard.
Personal identity is now the key to complete access to the connected life of a person and therefore a big risk to societal
safety and democratic processes. Traditional way of dealing with identity and identification include copyright
protection and value of work in the arts and moreover in per formative and media arts that are traditionally less prone
to investment and produce work that can be monetized.
Personally, I have experimented recently a process in the art world that goes beyond what i managed to do with
Trasformatorio Lab, expressed as a philosophy in action and a concept of curation by the Ruangrupa
88
collective in
Kassel in 2022. I am referring to the area-wide and ideologically well framed methodology of
lumbung
89
that is
intrinsically a larger scale way to act as a cluster of collectives.
The context of my participation to this was given from the the Gudskul
90
collective campus in the Federicianum
Museum during Documenta 15, were a collective of collectives met up while working at setting up and animating the
program of the event in the city of Kassel.
Their approach can be found extensively illustrated on the published documentation of the exhibition
91
A
lumbung
– or rice barn – is a place to store communally-produced rice as a common resource for future use. If
88
Ruangrupa, stylised as ruangrupa and abbreviated as ruru, is a contemporaryart collective based in Ja karta, Indonesia.[1][2][3] Founded
in 2000 by a group of seven artists, ruangrupa provided a platform in South J akarta for organizing exhibitions, events , and f estivals, also
conducting publishing services, workshops, and research. As a collective, they co -directed documenta fifteen, which took place 202 2 in
Kassel, Germany; notably the first Asian group and the first art collective to curate the large-scale international exhibition.
https://en.wikipedia.org/wiki/Ruangrupa
89
Lumbung is a word from the Indonesian language. It means: Rice barn. But Lumbung can also mean many other things. For example:
Friendship, working well together, sharing things, looking after everyone in a group. That is why Lumbung is an important idea for documenta
15. If you read further, you can find out more about it. In this text, the word Lumbung is a lways written with an upper -case L. But it might be
written in lower case in other texts. The word looks like this then: lumbung.
90
Gudskul is an educational knowledge-sharing platform formed in 2018 by three Jakarta-based collectives Ruangrupa, Serrum, and Grafis
Huru Hara. https://documenta-fifteen.de/en/lumbung-members-artists/gudskul/
91
I was present during the final phases of setup to which I was invited by one of the participants bodies, Scutoid coop from Kaoshung, Taiwan.
It was just during the first phases of the friction that brought to the disruption of the e vent. The learning, both in terms of artistic output and
about the in vivo production of
process art
and - moreover - the curatorial challenges of such approach will resonate in the future and the
serve a long study. I can only add here some general considerations that are pertinent to the discourse here.
:
83 83
documenta was launched with the noble intention to heal European war wounds, this concept will expand that
motive to heal today’s injuries, especially ones rooted in colonialism, capitalism, and patriarchal structures.
Learning from the accumulation of previous experiences in directly practicing institution building as an artistic form,
ruangrupa has proposed collaboration to document the imagining, tinkering, experimenting and executing models of
koperasi
(closely but not exactly translatable to cooperative), a model of economy based on democratic principles of
rapat
(assembly),
mufakat
(agreement),
gotong royong
(commons),
hak mengadakan protes bersama
(right to stage
collective protest) and
hak menyingkirkan diri dari kekuasaan absolut
(right to abolish absolute power).
Lumbung
as
a model of resources management will serve as the centre point of this practice. (https://ruangrupa.id/en/documenta-
fifteen/ accessed the 11 February 2024)
Documenta 15 should and will be a subject of extensive study in the future, both for the scale, that is unprecedented,
that for the friction that caused and the way it has developed into the destructive fire of divisive conflict afterwards
92
.
The efficiency (or not) of art methodologies in these contexts of friction has traditionally led to the need to
depersonalize, search for anonymity, hide or collectivize. In co-design and creative process’s personal identity must
be tamed, blurred, melted into the landscape. It is not only because of minimizing the surface of attack for people
involved but to disenfranchise inside manipulators. Art action in the tradition of Joseph Beuys is highly political and
nothing can be put up by culturally engaged minority that has more impact on society than a bold move in the forms
of the imaginary. Moreover, the Ruangrupa came from the front of the very high stake reaction to a repressive
government in Asia and that vibe was present all over the campus.
Is a fashionable way of thinking for the European, design is done by the hero (the fountainhead, the genius, the
architect-stars, the lonely hacker) and proceeds linearly shaped by moments of radical changes and all out conflict.
Ruangrupa -between many precedents but to a unprecedented scale- showed an alternative that is efficiently
collective and aims to be self-sustainable. The gudskul project is explicitly presented as a happy pedagogy of
participants. The whole museum had become a transparent and horizontally organized open lab.
figure 4: a picture with some of the runagrupa and gudskul curators at the end of the setup of the scutoid.coop installation in documenta
15. I am the one-person posing in profile. photographer unknown.
92
For a short story see: this balanced article on Hyperallergic.com by Hakan Topal, "Beyond the C ontroversies, Documenta Is a Remarkable
Gathering of Voices", 28 une 2022 and https://hyperallergic.com/744018/beyond-the-controversies-documenta-is-a-remarkable-gathering-
of-voices/ and the article from R uangupa "We are angry, we are sad, we are tired, we are united" https://ruangrupa.id/en/2022/09/10/we-
are-angry-we-are-sad-we-are-tired-we-are-united/ . The controversy about antisemitism has caused a chain of resign and has put the whole
Documenta affair on the spot for months.
:
84 84
Conclusions
We have given a in depth description of Trasformatorio methodology for art lead innovation, a name for a space we
carved to learn and test hypothesis about art. We have given some examples of strategies to tame complexity and
construct adaptation and resilience bottom up in processes of participatory design. We tried to convey the idea that
much more is to gain from a close collaboration between art, society, science and technology growing them together
instead of in separation and hinted to way to recreate a common language that can shape stories in a different
narrative space.
The word Utopia was invented by Thomas Moore. It indicates the island that never existed that we could d ream and
contemplate in a gigantic "what if". To talk about utopias has been relegated to spaces of dream and to act to shape
our action according to a utopic idea deemed a foolish endeavour. The greek word was composed by Moore changing
the previous Greek term of eutopia, the good place, the beautiful place, excluding the eu- suffix and applying a
negative particle u-. Moore himself tells this story in the addenda of the book. Our idea of the role of the arts in society
is all in this anecdote. We should use art to create good places to live in; gardens, places to receive others as friends,
being them other humans, useful insects, good fishes or compost piles that consume optimally in a circular fashion
our “faeces “to create fertile soil.
Art is a force that invents and enhance transformations. Trasformatorio consists in a useful exploration and learning
setup for activities that allow all participants to envision how they can appropriate themselves the eyes of artists for
their own life. To be for a while constructor of eutopias together. The game shows the instruments in the toolkit for
this transformation to be enacted in the world. The knowledge is few clicks and few contacts away.
We should as well allow projects to be designed with ways to incorporate friction and uncertainty as a resource and
not as a enemy. Trasformatorio found some ways to integrate operations that involve people doing, people being part
and people being spectators and many technically complex aspects and lots of unknown. There is a whole field open
forward filled with useful knowledge we still don't know and ideas to do it better and to scale it up to change for the
better many situations in this biosphere and this is just another beginning.
The biggest suppressors of innovation I found were the habits of power and the egos of the powerful. To transform
these bottom-up transformation must be protected and cherished.
Art is emotional and participatory in nature. As intended design, that moves out there in the world proposing to co
create meaning and stories from situation to situation should be the task of the wise. Wisdom is more necessary and
difficult to teach and reach than science.
Acknowledgements
I want to thank my friend and colleague Raffaella for endlessly sharing insight and ideas. Sabrina Sauer for her
encouragement and factual help. Rob Van Kranenbourg for his ability to always introduce me with enthusiasm to
interesting people and ideas, Gaelle Le Gars for sharing my interest in history and being so good in distinguishing
history from conspiratorial paranoia. I must thank the more than 100 artists that participated in Trasformatorio lab in
7 editions from 2013 and those that became part of the foundation and sustain research with passion and sacrifice
since. To be friends, as Nietzche said you must have shared the smoke and the dust of the fight.
PS All your Base Are Belong to us https://www.youtube.com/watch?v=jQE66WA2s-A
:
85 85
References
• Barba, E.
On directing and dramaturgy
(Routledge, London, 2012)
• Barlow, John Perry. "A Declaration of the Independence of Cyberspace." Electronic Frontier Foundation,
1996.
• Berardi, Franco "Bifo". "Heroes: Mass Murder and Suicide." Verso, 2015.
• Bey, Hakim. "Immediatism." Autonomedia, 1994.
• Bey, Hakim. "T.A.Z.: The Temporary Autonomous Zone." Autonomedia, 1991.
• Bishop, C.,
Artificial Hells: Participatory Art and the Politics of Spectatorship
, (Verso, 2012)
• Bonsiepe, G., ‘Design and Democracy’,
Design Issues
, 22/2 (2006), 27–34
• Boal, A. and A. Jackson,
Games for Actors and Non-Actors.
, (Taylor and Francis, 2005)
• Boal, A.,
Theatre of the oppressed
, New edition ed. (Pluto Press, 2008)
• Bonelli, F., & Rovida, R. (2016a, August 4). Do It Yourself: A short introduction to the rules of the game
byRaffa. Le Grand Jeu. http://legrandjeu.net/?page_id=62———.
◦ (2016b, August 5). About us. Le Grand Jeu. http://legrandjeu.net/?page_id=70———.
◦ (2019). Le Grand Jeu – Berlin 2019. [Video] Le Grand Jeu. https://vimeo.com/376427682———.
◦ (2020, December 8). Scenarios. Le Grand Jeu. http://legrandjeu.net/?cat=46———.
◦ (2021). EUROfusion Playbook, Le Grand Jeu: Instructions and custom scenarios. Amsterdam,
Holland:Stichtung Trasformatorio.
https://github.com/freddbomba/legrandjeu/blob/master/EUROFusion/LGJ-EUROFusion-
Playbook.pdf
(2) (PDF) Le Grand Jeu and the potential of money games for exploring economic possibilities
.
Available from:
https://www.researchgate.net/publication/378150137_Le_Grand_Jeu_and_the_potential_of_money
_games_for_exploring_economic_possibilities [accessed Mar 21 2024].
• Bonelli, F, "On Participation - How to do it", https://trasformatorio.net/?page_id=3654
• Campbell, Jason J.
Pedagogy of the Oppressed
, n.d., 21.
• Castaneda, Carlos. "The Teachings of Don Juan: A Yaqui Way of Knowledge." University of California Press,
1968.
• Deleuze, Gilles, and Félix Guattari. "A Thousand Plateaus: Capitalism and Schizophrenia." University of
Minnesota Press, 1987.
• Dockx N., Gielen, P. Ed.,
Commonism, a New Aesthetics of the Real
, (Valiz , 2018)
• European Commission. (2019). Communication from the Commission to the European Parliament, the
Council, the European Economic and Social Committee and the Committee of the Regions - The European
Green Deal. European Union.
• Federico Bonelli,
Trasformatorio. A Fuzzy Journey
.
Trasformatorio
(blog), January 11, 2021.
https://trasformatorio.net/?p=3491.
• Foucault, Michel. "The History of Sexuality, Volume 1: An Introduction." Vintage Books, 1978.
• Freud, Sigmund. "Civilization and Its Discontents." W. W. Norton & Company, 1930.
• Gibson, William. "Neuromancer." Ace Books, 1984.
• Haraway, Donna. "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth
:
86 86
Century." Routledge, 1991.
• Holmgren, D.,
Permaculture Principles and Pathways
, (Permanent Publications, 2011)
• Lewrick, Michael, Patrick Link, and Larry J Leifer.
The Design Thinking Playbook
, n.d., 347.
• Luther Blissett. "Mind Invaders." Serpent's Tail, 1999.
• Lederach, J. P. (2005).
The moral imagination: The art and soul of building peace
. Oxford University Press.
• Marcus Petz, Federico Bonelli, Teppo Eskelinen, "Le Grand Jeu et le potentiel des jeux d'argent pour explorer
les possibilités économiques",
Journal de la Décroissance
, Volume 2 (2024)
• Medina, E. (2011).
Cybernetic Revolutionaries: Technology and Politics in Allende's Chile
. The MIT Press.
• Nakamoto, Satoshi. "Bitcoin: A Peer-to-Peer Electronic Cash System." Bitcoin.org, 2008.
• Rushkoff, Douglas. "Children of Chaos: Surviving the End of the World as We Know It." HarperCollins, 1996.
• Russo, Lucio.
La rivoluzione dimenticata: il pensiero scientifico greco e la scienza moderna
. Campi del
sapere. Milano: Feltrinelli, 1996.
• Raffaella Rovida, (2018), “Le Grand Jeu”, https://medium.com/@r.rovida81/le-grand-jeu-is-a-hands-on-
tool-to-co-design-sustainable-micro-economies-empowered-by-261ee906decf Accessed 2 june 2024
• Sabrina Sauer & Federico Bonelli (2020) : L'improvisation collective comme moyen de gouverner de
manière responsable la sérendipité dans les processus d'innovation sociale,
Journal de l'Innovation
Responsable
, DOI: 10.1080/23299460.2020.1816025
• The Situationist International Text Library/Preliminary Problems in Constructing a Situation. Accessed
October 31, 2020. http://library.nothingness.org/articles/SI/en/display/313.
• Tiqqun (Collective), Alexander R. Galloway, and Jason E. Smith, eds.
Introduction to Civil War
. Semiotext(e)
Intervention Series 4. Los Angeles/ : Cambridge, Mass: Semiotext(e)/ ; Distrubuted by MIT Press, 2010.
• Turkle, Sherry. "Life on the Screen: Identity in the Age of the Internet." Simon & Schuster, 1995.