All Currents

Read the latest posts from A ( ) .systems.

from traveller

was sind geistplättchen? das ist das womit wir unsere visionstäschchen füttern.

meine eingebungsmarker sind am start.

Ihr habt ja auch schon ein bißchen Zeit während ich euch eure Visionen gebe.

eingebungsmarker gesetzt.


from traveller

Macht ist auf Handeln gerichtetes Handeln. Sagt Foucault sagt Miko. Mir kommt der Satz von Kathi Weeks in the problem with work nicht so ganz in den den Sinn. Irgendwas mit the pleasure in the excercise of [your] energies. Ich frage mich auch, ob Sein oder sein auch noch mitgedacht werden sollte. Wenn ich als Jägerin einen Tofu erlege und du mir beim Zerstückeln hilfst, dann sind wir beide mächtig. Dann machen wir Macht? Machtmachen. Jaja.


from Nic

a:\tNic p:\tSemmelbrosen

Authren ist eine, mmh, recht beknackte Neuschöpfung eines angelehnten Wortes. Aber, ja, nun. Die Methode Spiel hier angesichts der “Spieltheorie” nicht von vornherein zu klären ist mehr als nur nachlässig. Aber, ja, nun. Aber auch nicht zu klären wie das so im Machtkontext sich so benimmt. Nun, ja. Aber. “Ich sage: Schön, dass du da bist.” woher willst “du” das denn wissen, ob das schön ist? Neh. Isses nicht. Nicht schön. Nicht gut und “freundlich” als Eingangsstatement, darüber würde ich vorher gern diskutieren. So einfach vergebe ich das nicht. Weiß ich denn wer ihr seid. Und ob ihr das verdient habt?


from ForschA

Playing (urban) archives

Course at HCU Hamburg

This course aims to bring playing in conversation with (urban) archives. An archive can take many forms: from personal documents to institutional collections to online depositories. It is assembled and reassembled by diverse subjectivities and practices of collecting, complying, juxtaposing, narrating, memorizing. It is a dynamic process that combines multiple temporalities, the past and the present, and shapes the future. Urban space could also be interpreted as an archive dynamically being assembled by diverse bodies of matter, shaped by multiple temporalities and social and spatial processes.

Among other modes of relating, this course will prioritize playing as an activity and motive that opens up new experiences of bodily engagement, time, and political imaginaries beyond the traditional understandings of the urban. Playing provides a refreshing angle to create and share knowledge about how we inhabit urban spaces. It also opens up room for affective encounters such as desire, fun, serendipity, and empathy in urban processes.

This course will combine theoretical reflections with practice-based assignments and encourage playing experiments to explore untapped emancipatory potentials and foster further discussion on urban development.

The course will be held bi-weekly, and each session will be structured around a theoretical input, assignment(takes), and playing. During the semester, through those assignments, you will engage with particular archives and archival practices in Hamburg (from autonomous citizen archives to museums and libraries) and establish your archival practices in the process of working towards your final assignment. The students will engage with methods such as game mechanics, mapping, storytelling, narration, and walks during the course. And they will work individually as well as in groups during the semester and for the final assignment.

Additionally, the students will be offered to work with an archive of a diverse body of material (practices, games, writings) assembled through an interdisciplinary research project: authren, which investigates the potential of approaching the city through the lens of games and playing. The context of the research project offers a possibility to critically reflect on different forms of archives and gain practical skills and the ability to create their research projects individually.

The students will have the opportunity to present their works in the final event of the research project mentioned above, which will take place between September 9 to 12, 2022.


from ForschA

Park4All is a new game in Tibahni, the city that is every city. We played and tested it on the 23rd of May in Hamburg and the internet.

Premise of the game

Tibahni is a city of many parks. Every empty square at the side of a street is a possible park to spawn.

rules (implicit and explicit mixed)

Just take a step aside and spawn parks: Use the space that is yours. Ignore the cars, do things. Collect materials in the cities. Furniture your park, set up a sign. Hang out and do things. Tell the story of the park. Move on to create a next park when you feel like it.

the tale (subjective perspective of 1 forscha)

I met the others after they had already spawned a park, and I had heard some tales they told about it in the radio. From what I heard, they were on the way to spawn a second park on a main road that I knew, so I joined there. It was surprisingly easy. There was a shopping cart already standing on an empty parking lot, and we just joined it, bringing more materials we found in the street. Every time a car drove by it was very loud, which made the hanging out a bit uncomfortable. One person played drums, another one tried listening to the birds, the the third one started a counting game of passing-by police cars. Would be great to have plants that separate the park from the street. As we leave, the Kiosk owner asks us if we put all the things there. We smile, shake our heads and move on. At this point, we're four to six people.

The third park we spawn is in a road with little traffic yet many people sitting in bars (technically: in front of them) and hanging out in the public space randomly. On our way to the empty lot – this time, there is already an office chair waiting – we see people squatting on some parking lots next to a Kiosk. We find carpets another soft chair item, a table and even a telefax in this road that we all combine for this park. Building it feels a lot like doing art all of a sudden, and less like a game. I think this is because we have so many people watching us. It's a performance vibe, not because we want to perform, but because we are made into performers by the hipsters in the bar and the way they look at us. We try watching the park from a semi-distance, as hanging out in it feels too performy after about half an hour. We see three people taking pictures of themselves in the park.

As we move on, we are three to four people now, we already collect items on the way to the next park. The streets are full of useful material and objects, and after these past experiences, we have developed a skill to see them as such. How we move as a group is determined by the game and our implicit knowledge. Our eyes are looking for useful things, we don't move as a closed group but with each one of us kinda hunting while heading in a semi-determined direction together.

With all our arms full of chairs, grills, wood, pallets, a small table... we find the perfect parking spot infront of an already existing park. it's two cars wide in a calmer street and we start arranging and furnishing, listening to the story we tell ourselves, chatting with passers by who are impressed with the idea. At some point, you even write a declaration: this is public space. use the space that is yours. #park4all spawn parks everywhere. I read the declaration out loud for our audio stream. I feels empowering.

As we want to watch this park and how people interact with it – kinda swiftly changing perspective from players to observators (or have we just been participating observators before?), we decide that we move to the other side of the road just to watch. As we just sit on a parking lot on the floor, we start to feel it itch in our fingers – so we, again, collect some pallets and flowers and a table. Now we are playing and observating at the same time, and start interacting with the people that in the meantime sat down in the neighbouring park. It feels very nice and natural, we drink a beer, start listening to a nice set of electronic music, the night is falling.

we leave all our parks behind. the second-to-last one, in front of the park, stayed for some days. I wonder who put them away – the city hall? an annoyed driver looking for a parking space? a neighbour?

things we noticed

it was a lot easier than we thought.

being in the park was a lot of fun. it gave an interesting way to interact with people outside of the park.

you become faster and faster in spotting and spawning a park, finding material for your park, arranging it and inhabiting it. it's nice to see that also this is something to learn and train.

Tibahni is an example for an authered city. For more information about the city of Tibahni, playing in it and becoming an inhabitant, visit


from 1Hochhauskind

Besuch der nahegelegenen Spielzeugfabrik mit 1Geschwister. Wir konnten dort mitarbeytenund haben ein Pferd hergestellt aus einem ziemlich unkaputtbaren Material. Wir haben es zu meinen Großeltern gebracht, deren 1. Kind geboren wurde. Sie haben sich gefreut. Das Pferd werden wir wieder gesehen haben. Gestern oder übermorgen.


from Geschichten_aus_Authren

This Poem was written in a collaboration between 1ForschA and a clothes-peg, happening in “level 2 – under the influence”, an event of “Kennst du das, wenn der Raum so authered...? #relating #sprache

mostly harmless ? then don't sitzen on and, until I am just but from a can. then it – I - cuttable in homes, I can do it here hell we could be -


from 1Hochhauskind

Ich bin mit meinem Geschwister ins Dachgeschoß des Hochhauses eingezogen, weil die Tür der Wohnung offen stand und die Wohnung leer war. Meine Eltern waren zu diesem Zeitpunkt noch nicht geboren.


from Geschichten_aus_Authren

Poetic Protocol: Box of Human Potential – part of “Kennst du das, wenn der Raum so authered...?”

you show us a device and say: I can show yout the sound, see. it blinks. I can play something invisible for you. can you do the visual sound for the sound we are doing? that sounds wet

INAUDIBLE #sprache as a concept

it feels like something that could do you know in everyday life

it's a letter to the future me for when the box is closed THIS IS A PROBLEM FOR FUTURE ME so this is how you stop time. you just don't become the you that has this problem in the future.

I was born free//not born smart (This is not a knot but it's funny)

#relating +we are secretly listening yes our camera is indisposed most regretfully – and your microphone as well? +perhaps you may ask us questions – how many are you? + one of us says two – what do the others say + but there could be more – who is saying this + Fred – so I know who the other person is + Ginger – I would guess it's trick + Trick? – Are you a Fred of the Freds? Are you afraid of the Freds? + No I am The Fred The Fred but not your Fred – I have no Fred + Because we are your Fred you'll never be alone again

18 new Objects US VIDEOPEOPLE what is the biggest object? the box itself? maybe it's a territorial question LUTAS PELO TERRITORIO if the pillow fits into the plastic bottle #geste we win THE MUSIC STARTS which temperature does pillow need to become water the bottle is smaller than water? BECOME THE WATER


from luuk

Trying out the world-building for the remote chaos experience r3C

Because the Chaos Communication Congress couldn't take place this year, there is the remote chaos experience r3C. The r3C is happening in a big map of connected rooms. Rooms host avatars, and video+voice. Rooms contain entry points and exit points. Also rooms can link to jitsi calls, and to websites.

You can have a look at the prototype here:

Today I made my first attempts at building a room. There is a tutorial, so far only in German:

Here are the basic steps:

*Download some public domain (CC0 licence) tiles from or another source. You can search for any topic on Opengameart and then use the filters 2D and texture, and filter for CC0 licence *Install the sofware Tiled Map Editor *Create a finite map, with an object layer called floorLayer and one layer called start (the figure will start on a tile in this layer) *Embedd the tiles you downloaded and start constructing *Export it as main.json and upload the thing together with the tiles somewhere (best way is that they are in the same directory from the beginning, so the file paths are right). I used a github repository and enabled a github page that I linked to *You can test your map with their server (replace everything after global/ with your URL): *In the tutorial they also describe special functions like walls, links and exits

For the r3C you will have to publish your map on a code repository. There will be a backend where you put in the URL. Then the main map will include your code and update it every few minutes, so you can continue building.


from ForschA

“Kennst du das, wenn der Raum so authered...?” Poetic Protocol in drei Teilen zu Orchid Collector von Fantasia Malware (de/en)

Scene 1: Opening Act

jacques tati spielt in saal eins die leute tröpfeln ein und du erklärst und begrüsst und wir sind alle ganz aufgeregt es handelt sich hier um eine absolute premiere für uns und für die spieleerschaffenden

soll ich einen witz erzählen fragst du in die stille während einzelne stifte städtenamen und muster auf die präsentation malen es gibt einen ganz besonderen fisch der kann nur in der ganz besonderen mischung aus limonade und kola überleben kann es ist der spezifisch lache ich in mein Headset du bejahst und sagst: wobei es eine ganz andere antwort gibt die nach einem anderen prinzip läuft: es ist die schwippschwappforelle

kommt doch am ende mit uns in den bunker sagst du wir machen was in einem bunker in köln ohne fenster

kannst du nochmal sagen wo man jetzt findet was man wissen muss? hier in den shared notes auf der linken seite gibt es den orchid collection identification guide das ist ein handbuch um orchideen zu finden und wer das spielen möchte sollte das dokument offen haben es gibt wohl auch ein ORIGINAL davon was wir gleich sehen hab ich gehört und wer joinen will braucht einen twitch account

wir haben fantasia malware getroffen und gemerkt, dass wir alle forscha sind in in authren überhaupt – vor ein paar tagen haben einige forscha ein interview mit anderen forscha gemcht, die den nächsten termin am 3.12 machen und wir haben alle ganz besonders geredet das hat sich so ergeben aus der praxis heraus wie wir unsere forschung machen nämlich über authren

du sagst: ich sitze in Berlin in meinem Wohnwagen auf dem Wagenplatz und ich habe mir heute mit einem grossen Flatscreen ein Büro gebaut und wir hatten gestern hier in der Aussenküche eine schöne Idee, nämlich dass ein grosser Müllmagnet kommt und alle Wagenplätze der Welt auf den Mars schickt ENDLICH KOLONIE OHNE KOLONIALHERRSCHAFT

ich sage: ich stehe an einer Bushaltestelle und der Bus kommt seit einer halben Stunde nicht, im Rücken das Meer, ich bin hier mit Laptop und Simkarte in einem tragbaren Router. die Gischt, der Sonnenuntergang, mein Hawaiihemd.

Scene 2: On Fire

I anxiously sit infront of the closed curtain aka the greenblue-ish drawing WAITING ROOM at the same time I nervously sit at that busstation and it's getting dark finally the screen changes and of course the bus arrives in that exact minute I jump in, show my ticket laptop in one hand, router in my pocket, headphones on my ears, mask covering mouth and nose you've got my backpack, luckily and we sit somewhere in the back

and I think that already this is authering so, so much so the bus is in a hurry, he came late and has to catch up and we ride through villages and sharp curves it's a rush the neonlight inside contrasts the night sky

and I see three personas. one on top with a controller and grey, long hair one on the left side with a book and a big nose one on the right side with glasses and a beard. so the person with the controller is in a hurry time is running it's a rush the floor is moving pretty fast the orchids show up quickly, sometimes several at a time I'm superbusy with taking in all the sensations at once and also reacting at the same time the orchids, the movement, the bus, the rest of the audience, the identification guide wow, this is some high level thing going on

my reality is split several times and if feels good to auther so much

Scene 3: Chill Out

you say: yeah what's with the floor hannah was talkin about the floor also was there something? i just saw bright cards everywhere and i wasnt quite sure if we should get an orchid of every kind or two of every kind i didnt get it there somehow was a velocity boost

you say: i think being in this orchid environment really enhanced my well-being

you say: I think I didn't get the development of the key card and the thing with the time extension i didn't get a lot of it i would just watch it and enjoy it, it was energizing even though I think I didn't get anything

you say: for me it moved too fast. i wanted to stop and look closer at things. to stop and look at the floor

b shows up. b seems to have missed the whole show and asks: what did it show?

you explain: a jungle with orchids popping up and say: it might have been recorded also I did check out some notes there were orchids popping up

you ask: what did the mirrors do?

and I wonder which mirrors you meant

we come up with a theory. the person on top was moving the avatar was the running preson i said the person on top was maybe the system you said the person on top was running what did it mean to you? like, mean, what did it mean?

you say: i also didn't really get the game but think it had a good speed to it and the whole confusion was also kind of funny. would be interesting if the audience could switch with one of the three playing

THERE IS THIS IDEA THAT I REALLY LOVE: it was the first time they played it online, it would be interesting to have other formats like have an appointment to play it? ask fantasia malware to play it? TECHNICALLY WE CAN JUST PLAY IT AT HOME ONE PERSON CAN MAKE UP WHICH ORCHIDS APPEAR ONE PERSON HAS THE BOOK AND TRIES TO FIND OUT ONE PERSON MOVES REALLY QUICKLY it's like an open source game

you say: i liked the rythm of the speaking and repeating the commands maybe we should create these orchids as nft cryptocoins and sell them on the black market and collect some money for the artists

you say: before we started I really had special feelings towards the place we are right now It could be interesting to know how you found your way to authren?

you say you are cooking curry dinner with the baby on one arm

do you have any feeling for the interlude parts the breaks or what? yeah this like resting parts they were filled with text, right it would be nice to read it again what they were reading