What happened in the planetary event of the Near Future Education Lab: the challenge of the Future of Education has started

Some days have passed since the Education is a Commons event, and a summary is needed to be able to have an overview of the scenario which is opening up before our eyes, and about the single most important fact which emerged fro the whole event: Now is the Time to start re-thinking the education system!

First of all: participation. People from 5 continents joined in for an entire week of discussion, representing individuals, organizations, universities, companies, associations, activist groups and, obviously, education hackers from all over the planet.

the final hangout:

Here are some useful links:

the opening hangout:

The most discussed topics:

  • The education ecosystem: what is it? How does it emerge and manifest itself? How accessible and inclusive is it in its current form? What organizational models, if any, can be adopted to make it more accessible, inclusive and readable/usable?
  • Koinoo, K-Coins, badges and more: a mutualistic currency for the education ecosystem. Reputation capital. Transformation of the current definition of value to a p2p, ecosystemic, well-being oriented one, based on networked trust, participation, mutuality. Understanding the ecosystem and the networks through the currency. A new role for credentials.
  • Knowledge Commons, recipes, knowledge and meta-knowledge. Transforming Education into a protocol, like the Internet: an accessible, p2p, network-of-networks. Hypotheses for implementation. A new p2p layer of the Internet protocol stack.
  • Ubiquitous Education. Ubiquity through time and space (connect experiences, places and situations for knowledge anytime, anywhere). Ubiquity through contexts (each place is a potential space/time for learning/teaching/knowledge, through the commons and ubiquitous tech). Ubiquity through roles (each one can be teacher, student, researcher, entrepreneur… depending on the context). What about Divides (technological, cultural, age, gender…)?
  • the Open Foundation: the role of the open foundation to host, preserve and promote the Knowledge Commons, the Ecosystem, and the value model, enacted through the currency, and as a shell to enact the Wirearchy through which the ecosystem will work.

More discussions are taking place as we speak, and we are starting up the implementation processes for the whole thing: so please join the Facebook Group of the Near Future Education Lab and participate to the discussions and activities, or get in touch with us anyway you can: we want to do it with you!

Below you can find more resources about the event and the overall process:

Some fundamental Facebook Posts in the discussion:

Wired NextFest and Near Future Design: 8 hours of workshop and the exploration of possible futures

Art is Open Source and ISIA Design Florence will be in Milan at Wired’s NextFest on May 17 for an immersive 8-hours workshop on Near Future Design, and for a performative conversation with Bruce Sterling on the opportunity of materialising possible futures right now, using Design Fiction.

It will also be the chance to launch the first book on Near Future Design published in Italy by our students at ISIA Design Florence, with an introduction by Bruce Sterling. (you can download the book here:  http://www.artisopensource.net/NFD-NextFest2014.pdf )

 

Near Future Design is a series of practices and methodologies through which we can explore possible futures in participatory ways, highlighting current transformations in human societies, in technologies and in their relations and mutual influences. Through this, we can create Future Maps which describe these possible futures, and use Design Fiction to implement pre-totypes, early prototypes built through actual objects and services, but also through the use of transmedia narratives: the manifestations of these objects and services of our possible future, across different, coordinated media, to make them credible and likely.

As we have highlighted multiple times, in the era of knowledge, information and communication, Near Future Design helps in the construction of the languages, visions and of the imaginaries which will enable us to actually create our futures, hence giving rise to our motto: “The Future does not exist! It’s a Performance!” A performance for all of us, to create our futures with every imaginative action in our daily lives, and for organisations, companies, governments and more, who wish to stimulate people into critically and collaboratively thinking about their preferable, desirable futures, and to actively participate in their construction.

The Workshop at Wired’s NextFest

On May 17th 2014, at 10am, at Wired’s NextFest, in the Aula Magna, Museo di Storia Naturale, (in the “Giardini Indro Montanelli” park, Corso Venezia, 55, Milano, near the Metro station “Palestro“) we will hold an immersive 8-hour workshop on Near Future Design.

We will choose a scenario, create a Future Map, and design our “New Normal”, the future scenario in which our future product/service/action/behaviour will be perceived as being normal, common. We will do it through Transmedia Storytelling: we will enact a coordinated, systematized strategy online, in the streets, on social networks, in shops and, in general, ubiquitously, across digital and physical media, which will make our Design Fiction come alive.

Here is the Workshop’s page on Wired: http://nextfest.wired.it/events/near-future-design-lab-designing-new-normal/

Here is the link to register to the workshop: http://www.smappo.com/event/536c87dc4a6fb_near-future-design-lab-designing-the-new-normal.html

The Talk

On May 17th 2014, at 7pm, at Wired’s NextFest, in the Red Dome, (in the “Giardini Indro Montanelli” park, Corso Venezia, 55, Milano, near the Metro station “Palestro“) we will hold a talk with Bruce SterlingJasmina Tešanović, Oriana Persico and Salvatore Iaconesi to engage in a performative conversation on Near Future Design and Design Fiction: imagining the objects (and societies) of the future(s).

Learn more about the Talk on Near Future Design here: http://nextfest.wired.it/events/near-future-design-immaginare-gli-oggetti-e-la-societa-del-futuro/

 

The Book

During the talk we will also introduce the first book on Near Future Design published in Italy, with ISIA Design in Florence, featuring the incredible Near Future Designs by our 2013 students.

Learn more about the projects here: Near Future Design at ISIA Florence

Download the Book here: http://www.artisopensource.net/NFD-NextFest2014.pdf

The book is also distributed via QRCode on the May 2014 edition of Wired Italy, in the article below:

Near Future Design on Wired

Near Future Design on Wired

Transmedia Design

Fake and real. Simulacra and simulation.

Go and organize a fake hold up. Be sure to check that your weapons are harmless, and take the most trustworthy hostage, so that no life is in danger (otherwise you risk committing an offence). Demand ransom, and arrange it so that the operation creates the greatest commotion possible. In brief, stay close to the “truth”, so as to test the reaction of the apparatus to a perfect simulation. But you won’t succeed: the web of art)ficial signs will be inextricably mixed up with real elements (a police officer will really shoot on sight; a bank customer will faint and die of a heart attack; they will really turn the phoney ransom over to you). In brief, you will unwittingly find yourself immediately in the real, one of whose functions is precisely to devour every attempt at simulation, to reduce everything to some reality: that’s exactly how the established order is, well before institutions and justice come into play.

This quote from Baudrillard’sSimulacra and Simulation” allows us to understand very precisely simulation’s role in human society and perception.

In the media environment in which we are constantly immersed, people constantly interpret what they experience using signs, signals and clues which are real, fake, simulated, relevant, unrelated…

Going back to Baudrillard:

Thus all hold ups, hijacks and the like are now as it were simulation hold ups, in the sense that they are inscribed in advance in the decoding and orchestration rituals of the media, anticipated in their mode of presentation and possible consequences.

This observation describes what is called Hyperrealism. “More than real “. More than real because, to an extent, the “real” depends from what media show about it, from how they show it.

If I think of a holdup: although I have never really experienced one, I know how it goes, how it unfolds, how it develops. Because I have already seen it, millions of times, in movies, television, youtube videos, images. I know what to expect, what happens.

a Bank Robbery

a Bank Robbery

If I close my eyes, and think “bank robbery”, I will see images, hear sounds, imagine emotions, fears, excitement, the adrenaline rushes of all the participants involved: the bank robber, the police man, the hostage, the clerk.

I don’t need to actually be in a bank hold up because, through media of multiple types, I have been there a million times.

In our contemporary world, things become even more complex.

Invisible cities, by Christian Marc Schmidt and Liangjie Xia

Invisible cities, by Christian Marc Schmidt and Liangjie Xia

In each instant, we are constantly immersed in a multitude of flows of information and communication: the things we see, the signs and signals, the displays which we’re surrounded from, the advertisements, the things we see with the corners of our field of vision, people, their gestures, dress-codes and the ways in which we interpret them, sounds. And our smartphones.

Think about arriving in a city for the first time. You’ve never been there before. Do it.

which city is this

which city is this?

Only a few years ago, when this happened, you really did not know much about the city: maybe you had a couple of addresses (of your hotel and a restaurant which a friend advised you to visit), you could have seen a couple of postcards or pictures, you could have read a guide… not much.

Now, everything has changed.

When you arrive in a city for the first time in your life, you have already seen it: on Google Maps, or even Streetview. You have seen pictures, read reviews, gathered opinions and experiences on TripAdvisor, asked around on Facebook, and maybe even found a few friends to meet there. You might even be couch surfing in someone’s home. Maybe you already know that a certain neighbourhood in the city is dangerous, or interesting, or full of artists, or stores.

Let’s push it: maybe you went to that city because of something you read/saw online, in the first place. Something online made you change our behaviour, or take a certain decision. If you had read something different, maybe you would have gone to a different city.

Again: you could imagine that city, have feelings for it, even without having actually been there. Simulated. And, thus, real.

That city, thus, is not only made from buildings, streets, shops, squares, houses, parks and other physical objects.

It is built from a variety of different media. Some of them very physical, like concrete, wood, glass, asphalt. Some of them immaterial, like digital information, images, videos, text, emotions, experiences, data.

All these meda entangle with each other and with our perception, forming the way in which we perceive reality.

augmented city

augmented city

The landscape is now composed by trees, buildings and digital information.

We can use the “traditional” senses to perceive all of them: sight, hearing, tactility, smell, taste.

Other, new, senses add up to the “traditional” ones, or modified senses, which we learned to use in more recent times. We do not have 5 (or 6) senses, but a higher number of them.

For example the sense of proprioception, which is among the senses which has undergone massive transformation in recent times: the feeling of being in a certain place. Where are we when we are non Skype, on Facebook, or while we look at Google Earth?  We are in a different, other, place, which is not where our physical body is, not at our friend’s house, not on the screen, but in-between, suspended, Other.

It is necessary, in our contemporary world, to understand how to deal with this and similar facts, with this dimension.

This is fundamental for Design.

a chair

a chair

Let’s imagine designing a chair.

When I design a chair, I’m not designing an object. I’m creating a story.

A story which is the result of the entanglement multiple elements, including the chair’s shapes, materials, structural properties.

lots of different chairs

lots of different chairs

But also of a series of other elements. What do I mean when I say or imagine a “chair”? What does someone with a different culture or background mean by it? What do I expect from a chair? What do I like, hate, fear, desire from it? Which chairs have I experienced, seen, wanted, worked with in my life? …

It is an intricate story, built from formal elements, cultural ones, experiential ones, affective ones, emotional ones, and so on. Regarding me, and also all the other people which this chair is for, or who will see the chair in the store and recognise it as a chair, feel desire, attraction, repulsion, fear, love, seduction, and other emotions, feelings and meanings for it.

This is, as we were saying, even more complex in the era of ubiquitous information, in which search engines (like the image above, which is obtained by performing an image search for chairs), social networks, websites, augmented realities and more add multiple other layers to this, generated by people, companies, organisations and more.

This is not a new thing.

It has always been there: objects (and products, services, ideas, narratives…) have been stories which people interpret using their own cultures, contexts, cues and backgrounds since the beginning of mankind.

Let’s think of an incipit:

I was alone, at sea

I was alone, at sea

“I was alone, at sea.”

If you close your eyes, and try to visualise this incipit, what is happening in it, what do you imagine?

Different people imagine different things.

Some will think of men, women. Some will thing about homes, rafts, yachts. Some will think about sadness, or meditative states, or fear, danger, or happiness and love.

What does this mean?

It means that we create the story ourselves, in our minds.

It means that a writer (or designer, or…) never has complete control of the story, of how different people perceive it, imagine it, experience it.

It means that we build the story ourselves in our minds by harvesting a series of clues which are disseminated across a variety of media. Clues which are relevant, irrelevant, collateral, coming from what the writer wrote (or the designer designed, or developer developed, or interface designer designed…) and filtered, changed, transformed according to what we know about the world, the things we have seen and experienced. Or from what we desire, expect, envision, prefer.

Or even shaped by what we have seen online, in the streets of our city, on a billboard, or with the tail of our eye somewhere, or by something we have overheard on the bus, casually listening to what other people were saying.

All this clues, the ones we use to create the story in our heads, are disseminated across a variety of media.

Henry Jenkins defines Transmedia as:

Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story.

In relation to design, we can use this definition as a starting point, to imagine Design as an act of World Building. Of creating Worlds instead of Objects.

What IF

What IF

If we do this, we would probably try to give answers to a series of “What if?” type questions.

What would be in the world if the object (product/service/application/artwork…) existed?

We know that cars exist not only for the existence of automobiles as physical objects.

We know that cars exist for a number of different reasons, possibly even more important that “cars” (as object) themselves (thing about, for example, if I don’t own a car: its other manifestations could be more important for me than the car itself in knowing about cars’ existence in the world).

Cars exist and we know it, also because we know that repair shops exist, insurance policies, parking tickets, parking lots, car advertisements, gas stations. There are people who publish pictures of their car and with their cars on social networks. There are accidents. There are people who desire certain cars. People who talk on the phone telling their friends that yesterday they ran out of gas and they had to leave the car in the middle of nowhere and walk home. There are prizes in which you win cars. There are cars lovers websites. And cars haters websites, for multiple reasons. There are car factories, and people who work in them. The same people who are on strike when the car factory in which they work shuts down because the production of cars has moved to China, or to some place else. There is the guy who invented the hydrogen car of the future. And many more manifestations of cars.

We know that cars exist because there are all of these things. And all these things exist because there are cars.

What would happen if we took away “cars” (as physical objects) and left all their other manifestations in place? With all probability, we would still think that cars exist.

In general, there are a number of transmedia manifestations of the “car” phenomenon. Which is not an “object”, but a Transmedia Narrative, a Simulacrum.

And, thus, let’s go back to the Simulacrum:

Simulacrum

Simulacrum

Designers (and artists, politicians, lawyers, and more and more professions) are transforming themselves, wether they realise it or not, into Transmedia Storytellers: professionals who are able to enact world-building processes by designing a Simulacrum through its coordinated manifestations across a variety of different media.

The objective of this type of actions, is twofold: to intervene on “reality” and to “loose control of the story, in controlled ways”.

First: to intervene on “reality”. On consensual reality, on the things and scenarios which we have learned to recognise as real, socially, culturally, psychologically, cognitively and more. To create a transmedia path in which the object (or product, service, law, concept, artwork…) becomes present in the world not only through its physical/digital presence, but also through the presence of its transmedia manifestations.

Not designing objects, but designing worlds.

This permits a powerful transition: to shift the perception of what is possible. By creating a World, instead of an object, we can provide the clues which allow people to believe in the possibility for this World (and for the object/service/artwork/law…) to exist.

And, second, to loose control of the story, in controlled ways.

This is, possibly, among the main opportunity for design in the Era of Knowledge, Information and Communication. The rise of Open Source, peer-to-peer production models, participatory and mutual economies and many more elements constitute evidence for this.

As described, we can use Transmedia Storytelling and World Building techniques to induce a state of Hyperreality. We can create Simulacra.

When this happens – when Hyperreality happens, when we design for Hyperreality – we do not create copies of reality, or their expansions or extensions. We create a new reality, a different one.

This allows us – as described by Deleuze – to establish a privileged position, which allows us to observe the phenomena of our world, and to open new spaces for their critical discussion.

By creating Hyperreality, we create languages and imaginaries, through the shift in perception of possibility: because we learn that something Other is possible, we acquire new language and new pieces of imagination.

And we can (and will) use them to express ourselves.

The Design becomes, thus, a platform for other people’s expression. It becomes a participatory performance.

This is of fundamental value, because through this modality people will not only able to express around their perception of possibility, but also and more importantly on the level of preferability, and of desirability. Expression not only on possible futures, but also of preferable, desirable ones.

From our point of view, this is an exceptional new role for Design and Designers.

 

Note: this post is the transcription of our contribution to the event on Transmedia Storytelling which was held at the MAXXI Museum in Rome.

The event is the result of the Master in Public & Exhibit Design we hold in La Sapienza University in Rome.

This year we collaborated with artist Maria Cristina Finucci on her Garbage Patch State project, by creating a complex Transmedia Narrative. Here below is the publication of the results of our work:

 

Transmedia Storytelling and the transformation of imagination, at MAXXI Museum in Rome

Join us at MAXXI B.A.S.E. (the research center of the MAXXI Museum in Rome) on April 29th 2014, at 6:00pm, in the Sala Graziella Lonardi Buontempo (via Guido Reni 4A, Rome) for a conversation on Transmedia Narratives, Design Fiction and the ways in which the idea of World Building can radically transform our perception of reality, and the effects of this practice on Design in the era of Communication, Information and Knowledge.

http://www.fondazionemaxxi.it/2014/04/14/transmedialita-e-costruzione-del-reale-comunicare-il-design-nellera-dellinformazione/

The event is organised together with the Master of Public & Exhibit Design at “La Sapienza” University in Rome, and the Department of Education of the MAXXI National Museum for the Arts of the XXI century.

Transmedia Narratives at MAXXI: download the official press release (Italian)

The conversation will be introduced by Margherita Guccione, the Director of MAXXI Architecture.

Then Cecilia Cecchini (Professor at the Faculty of Architecture of “La Sapienza” University in Rome, and Director of the Master in Exhibit & Public Design) will introduce the theme, as it has been used in the Master to construct a non-conventional communication approach to create “a Simulacrum for the Garbage Patch State”, based on Cristina Finucci‘s artwork The Grabage Patch State.

At this point the conversation will begin, with Salvatore Iaconesi (Art is Open Source, professor, artist, designer, hacker), Oriana Persico (Art is Open Source, professor, artist, communication scientist), Andrea Natella (Kook Artgency, journalist, writer and non-conventional communication expert) and Corrado Peperoni (“La Sapienza University of Rome, expert in cross-media communication), who will explore the theme, moving across Transmedia Narratives, Design Fiction, World Building, Simulacra, Language, Communication and Perception, using the videos and images from world-wide known projects to dig into the possibilities, opportunities and challenges opened up by all these practices.

Conference Invitation

Conference Invitation

 

 

The performance of the Near Future of Education

This article was published on the Febrary 2nd edition of Nòva24, on Il Sole24Ore.

You can find the original article here: Il futuro scolastico è una performance

Here we give an expanded version of it, without length constraints.

testing out a kinect at ISIA

testing out a kinect at ISIA

 

Crisis and transformation are connected to each other.

This is what is happening at ISIA, Florence’s school of design, where the students are leading a disruptive effort to co-create the future of their own education system.

When faced with semi-bankruptcy originating from the financial cuts, and with the certainty of being thrown out from the buildings in which they reside because of the lack of government funds to pay for the rent, the teachers and students at ISIA Florence started a protest. Flash mobs, social network campaigns and city interventions were enacted to rebel against the probable closure of the school.

Soon enough it was clear that this was only the latest of a never ending series of states of emergency, and that dedicating all this effort towards resolving one problem, would not change anything for the future, that would still be characterised by a sequence of emergencies, one after the other.

Near Future of Education at ISIA

Near Future of Education at ISIA

As an example, it now seems that some financial backup has been obtained to meet the lease of the school’s venue, but even this potentially good news sits in a state of suspension, with no formal agreement and, more important, with no clue whatsoever about the future of the school, which remains fragile and precarious, in an unstable balance until the next emergency comes about.

We have been in a state of continuous emergency for too long.

In a world that is progressively encoded health, education, the environment and relations are increasingly becoming things which you “buy” (in the many ways in which it is possible to “buy” something in the era of digital technologies and social networks) rather than things you “do as a society”.

We have moved from one emergency to the other, without the time and possibility to imagine – and thus to desire and build – a world that is more just, inclusive, open, critical, civic, civil, ethical.

It is maybe more a crisis of the imaginaries and of desire, rather than a financial one. A crisis of thought and critique, and of the desire for both of them, while we struggle in the tight condition of being forced to focus on a continuous present, where the emergency happens.

In this scenario it is almost impossible to think, to learn from history, and to form new imaginaries about the future.

This condition, of course, starts from the education system.

In our case, it starts from ISIA, in Florence.

This wonderful school of design has been home for some of the most prestigious names in Italian industrial and communication design, and has a wide history of excellence and innovative practices. It is a public institute of higher education, in which all those who demonstrate their potential talent for design can gain access to an effective and innovative environment which also feels like a family: everyone knows each other’s name, professors don’t mind spending hours on students’ projects, and both students and professors actively harvest opportunities that can be accessed and shared by the whole school.

This is a peculiar model, and a really interesting one, which escapes from the model which sees design schools progressively becoming the places whose objective is to produce the next wave of chainworkers for the creative industry.

ISIA produces good designers who are able to think and to design, which in Italian is “progetto”, which literally means to “project”, to evaluate possible futures and to choose from them in ways that are aesthetic, functional, social, political, psychological, anthropological, poetic.

In the current scenario, paradoxically, this has become not competitive.

Everything points in this direction: from the financial cuts to public education; to the facilitations for private schools; to the recurring patterns in which private entities interact with schools; to the configuration of students’ curricula.

We find ourselves in a peculiar situation of synchronicity: the continuous emergency produces students who are not ready to deal with it, because they are cognitive chainworkers. They don’t know history, they have underdeveloped critical skills, and they don’t develop the capacity to “project” in critical ways. They are stuck into the continuous present, in the emergency (of finding a job, of creating a startup that will most likely fail in a few months, and so on).

It is the crisis preserving itself, through emergency.

In all this, roles are also quite encoded. Students protest. Education institutes beg for hearings and money. Governments give out uncertain streams of unstable pocket money. Private entities colonize, to produce chainworkers or startuppers.

In ISIA a decision was taken.

Starting from the Near Future Design course, and quickly spreading to the whole school, we decided to reinvent our reality with the most our powerful tool: the Design. We started building the Near Future Design of Education, to push a bit further people’s perception of what is possible, and using this shift to enact a performance, in which the design actually comes to life.

We have identified 11 axes onto which to imagine the transformation of the education system.

The action at ISIA is a performance. As in all performances, the objective is to create a state of suspension. A condition in which the possibility to discern between what is possible and impossible, allowed or forbidden, true or false, granted or denied, stops. And to use this state of suspension to push our perception of “what is possible” a bit further.

This action is not about “changing everything”. As it is not about complaining, populism or escape.

This action is about desire, imaginaries, access, language and, accordingly, about our possibility to perceive, think and, thus, construct.

To acquire a new language – a new tool – with which to think about the world, and to create it.

As in every performance, it is the audience who does the large part of the job. In performances, “passive” audiences do not exist. “Believing” in the performance – in that which happens – is an active, emergent operation: it deals with recognising a new language and, thus, a new possible “world”. It deals with assuming a new sensibility, which includes a new perception of the world, in which the performance is possible.

It deals with desiring that the performance be true. And, thus, with making it true, participating to the adoption of a new language.

This, in other words, is what Designers do. They build worlds. In which a certain “thing” (a chair, a service, an education system…) is not there in the beginning, but then materializes, thanks to the Design.

Good designers don’t work alone.

Good designers know that learning to become a vehicle for the points of view of historians, anthropologists, engineers, economists, sociologists, psychologists, researchers and people is of fundamental importance. Uniting all of these points of view to understand, first of all, which are the important questions to be asked.

Every designer knows that when “clients” ask for something, they really don’t know what they’re asking for. They have ideas. But single ideas are not such a big deal.

If, from an idea, we are able to derive well-placed questions and a process which is open to multiple points of view which are technical, social, political and poetical: there, here is a great thing to achieve. It is there that great projects start: from permeability, and from the possibility for participation.

They are not the product of the imaginaries of a few people, but, rather, the offspring of the possibility for expression of multiple perspectives, in a state of suspension, in which the Design (the “possible”) is not yet known. What it is known is that it is possible to participate to its definition.

The Design is a participatory, relational, performance, in which the world is created. The “Near Future” of the world.

The students are now in a constituent phase, in which they will unite into a Foundation – or other form of legal organization –, organized using Holacratic models. This new organism will enact the design, by changing the rules of the game. Stepping away from protest mode, and moving into the making mode by changing roles: from subjects begging their rulers to receive hearings and a few coins to survive, to partners, co-creators of the future of the education system.

From the point of view of the course, the story will have a peculiar twist. At the end of each academic year it is common practice for the students to produce a publication featuring their Near Future Designs and the methodologies and techniques used to conceive and implement them.

This year’s publication will assume a very distinctive form: a series of European projects – which will be actually presented – and an open toolkit (made from software, tools, information and opportunities for interaction and interconnection), to make the process replicable and scalable.

The story has just begun, and you will be able to follow and take active part in it on the physical and digital pages of Nòva24, on Il Sole24Ore, and on the many forms of presence which this wonderful group of students will be maintaining on social networks and in cities.

The future does not exist: it is a performance, which we enact with every single one of our decisions.

And, thus: let the Performance, and the Design, begin. You are all welcome.

Starting from the next few days on Nòva and right now on this Facebook Group:

https://www.facebook.com/groups/NearFutureEducationLab/