User:Vtaylor/Sugar Labs/Como Hacer

CóMO HACER un prototipo

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HOW TO MAKE A PROTOTYPE The Adventure of Learning is a space of encounter and exchange around learning to discover what practices, atmospheres, spaces and agents make communities work; Their whys and their commotions, or in other words, their yearnings and protocols.

This project starts from a few minimal budgets and easy to formulate. The first has to do with the conviction that knowledge is a collaborative, collective, social and open enterprise. The second embraces the idea that there is much knowledge that does not arise within the walls of the academy or any of the canonical institutions specialized in its production and diffusion. And finally, the third militates in favor of that knowledge is an activity more to do than to think and less argumentative than experimental.

These didactic guides aim to encourage the implementation of collaborative projects that connect the activity of the classrooms with what happens outside the school premises.

Without learning there is no adventure, as the tasks of learning and producing are increasingly inseparable from the practices associated with sharing, collaborating and cooperating.

These teaching guides are published under the following Creative Commons license: CC-BY-SA 3.0. Recognition - By-sa: This allows you to share, copy and redistribute the material in any medium or format, as well as adapt, remix, transform and create from the material, provided the authorship is recognized and use the same license.

Project conceived and coordinated by    Antonio Lafuente and Patricia Horrillo

INDEX * Introduction. . . . . . . . . . . . . . . . . . 4 Materials. . . . . . . . . . . . . . . . . . . . 7 Steps. . . . . . . . . . . . . . . . . . . . . . . . 8 Tips. . . . . . . . . . . . . . . . . . . . 26 Resources. . . . . . . . . . . . . . . . . . . . 27

Who does this guide?

Antonio Lafuente is a Scientific Researcher at the Center for Human and Social Sciences (CSIC) in the area of ​​studies of science. He has worked in the colonial expansion of science and in the relation of science to its public and profane knowledge. More recently he investigates the relationship between technology and procomún, as well as the nexus between new and old estates. Twitter: @alafuente

Mariana Cancela is an Art Historian and has collaborated in the conceptualization and development of a series of projects related to free culture and citizen innovation. He is interested in the diffusion of new technologies outside the urban environments and participates in the promotion of artistic and cultural projects. He has coordinated two editions of the Ibero-American Laboratory of Citizen Innovation. Twitter: @Mariana_Cancela

INTRODUCTION
Prototype or the Art of Listening

What is reasonable is that we want to change the world and never cease to be uncomfortable with the asymmetries and inequalities we experience. And it is not necessary for us to be the victims to reject the current state of affairs. It is also easy to understand that we want to do things with others and that we do not resign ourselves to the imperative of the competition. Normally we prefer a world where cooperation prevails in the face of rivalry. And the novelty is that, instead of being complaining about those who (us) fix problems, let's get together with more people who enjoy learning, caching and sharing knowledge and skills. And a little more. Now you have to find a place to meet and start working together. We have a problem, we have knowledge and we feel like it. It is enough to start designing an initial approach, an outline of the approach that seems most appropriate.

You have to resist the temptation to want to run a lot. The dominant ideology insists on showing us the world as a constellation of problems awaiting a solution. And often, entrepreneurs, seduced by the idea of ​​success, are satisfied with proposals that are only a simple solution to complex problems or, worse, to problems that no one has. This insensitive and abusive attitude already has a name: solutionism. Prototyping is not so much finding solutions as making sure the problems are well understood or, in other words, that we have been critical enough to explore the consequences of our designs and to make sure that we have taken into account (almost) all possible points of view. Prototyping is another way of listening. It is to ensure inclusive designs that do not increase pain in the world. And that calls for developing clear listening skills.

To listen you have to pay attention. But we must also ensure that diversity is present in the design. It is necessary to remove the barriers that prevent the presence of non-experts, or those who have coined in their lives other types of uncredited knowledge, but which are based on experience.

Everyday efforts must be made to guarantee plurality and promote spaces without walls, spaces that protect the free exchange and contrast of ideas and practices. It is said soon, but it is not easy. We have too much haste and little patience to listen to those who come from other worlds and whose argument seems to us to be confused, inconsistent or capricious. We have little patience, and also little time. Time has become a scarce good that we can make abundant if we cooperate, if we add our intelligences.

Organizing in other types of structures

Many few can produce the miracle of abundance. It is necessary to know how to collect these sporadic, intermittent, tiny contributions, creating fragile and easy to enter or leave organizational structures, to renounce the practices of the identity, to bet on the extitution and to be willing To make the borders between the inside and the outside very porous. If this is so, if we accept that these new forms of emerging institutionality are a great social innovation, we will be closer to building a meeting place that promotes the production of open, frugal and effective prototypes.

We imagine the prototype as a patchwork and, more than constructed as the deployment of a sequence of steps to follow, as with cooking recipes, we imagine it as a score that must be composed and interpreted with all its ingredients Simultaneously in action. The workmanship is done with stitched retinas and involves a manual work, often collective, and a very high involvement of the body. As in music, every performer has his style, his bias, his imprint and although the score is always the same, the music never sounds the same. A prototype is also a production with a very high involvement of personal emotions, body skills and effective work. Making a prototype is a high-risk activity. You have to be careful, because life can change you. A prototype makes us better people.

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MATERIALS
What to prototype
 * Prototipar is a team work that does not have any material that is its own, but in practice parasite all activities that involve people who want to do things together.
 * Protect devices, objects, services, policies, organizations, practices, ... Everything in principle is susceptible of being predesigned. So, depending on what we want to work on, so will the materials we have to collect previously. But there are things that we are sure to need.

Basic materials
 * A good work table and a lot of stuff.
 * Experience says that the effort of ideation consumes large format paper to be able to make drawings, diagrams, organizational charts, ujo diagrams or mapping.
 * We often also see that color codes are used that include various inks and post-it.
 * We suggest three different colored markers.
 * It is also very important that these efforts are made in the eyes of all and then be present during all the days that work in common, which makes it highly recommended to place these documents on the wall or an ad hoc mural as Reflect the situation in which the project is at all times.

Hydration and food
 * Although it is not essential, the facts show that it is highly recommended to be able to offer the attendees some food throughout the day. We are not referring to ordinary meals, but to the possibility that some fruit, coffee and tea and water may be available for those who want it.

Conflict mediation
 * The prototyping work is very absorbing and exhausting. Conficts between the participants are not long in coming, especially when mixed generations or cultures are different. We must have these problems and offer the possibility of mediation to the groups. Learn to endure tension, discrepancy, contradiction or separation is a fundamental part of the prototyping process. We must not fear differences, but assume them as an asset that enriches us and, at the same time, tests our ability to imagine a common space.

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1. Open
A prototype must be open, which is as much as accepting that, first, it is tentative, tentative, and unfinished. But it must also be open to all and to everything. This means that no one is left over, nor is there any other kind of knowledge. Moreover, in the configuration of the working group it is very important that we ask ourselves if we are doing what we can to guarantee diversity.

One question that we can generalize and make it an ordinary practice in all our projects would be this: Is my project open? Or, in order not to be more metaphysical than necessary, we should be faced with the question of what we could do to open it up a little more.

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Imagine thinking about your language, speaking in your language, dreaming in your language, writing in your language, but not being able to read a book, a printed text or simply sending an email because it has such a unique typography that is not yet digitized. This is what happens with many languages ​​on the verge of extinction, among them the Wounaan language, the language of almost ten thousand Indians of Colombia and Panama.

A young graphic designer from Bogotá, determined to work on its preservation, elaborated a digitization project of that typography, Gente Fuente.

It was clear that he as a graphic designer could not carry out only the project. I needed typographers, programmers, more designers, communicators, etc. And of course, representatives from the Wounaan community. Many very different worlds came together around that table, and it was very interesting the moment when, during a discussion on the technical aspects.

Of the source, Bladimir, indigenous Wounaan, asks the group: "And how do you pretend to bring the source to our community? On a pen drive? "Dialogue and listening were key factors in transforming the diversity of codes that that group handled into its main advantage. The project not only culminated in a digitized and open typographic font, but also a series of didactic booklets, that is, an educational package, for the new readers of the community. The kind of questions that need to be asked is easy to formulate: • Is the team plural enough? • Is gender parity guaranteed? • What about other possible parities? • Could we do more inter-generational? • Is it a heterogeneous collective from the ideological, political or cultural view?

If we want our world to be less asymmetrical or uneven we will have to work on the production of inclusive designs, which implies knowing how to get involved in plural collectives.

This heterogeneity is full of promises and difficulties. The promise with which it rewards us is learning by antonomasia: learning to live together by listening to others or, as Ivan Illich called it, the coexistence.

Opening a prototype will oblige us to pay attention to those who do not express themselves brilliantly or those who try to communicate something they have not just said. Does not matter. What they expect of us is not a scholarly critic or comment that makes them feel even more insecure. What they expect, what they need, what we can give is accompaniment to help them find those words that need to be said and deserve to be heard.

Opening a prototype means opening oneself to the indefinite or the ineffable. Let go of our prejudices and let yourself be affected by what others want to express. Our supposed security can be suspended, if only for a little while, to hear and understand the motives of the other. We do not have to agree or disagree. We are not building a competitive relationship. Suffice it to admit that working together, doing something with others, among all, demands a gesture more empathetic than rigorous and more effective than surgical. Opening a prototype is no easy task because it is always an unfinished endeavor. Every time he asks us a little more: he forces us to disappear.

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2. Slow
Pay attention, give value to the nuances, accept that we may not have all the information that is needed or recognize that perhaps we escape details, are attitudes that demand time. Making a prototype is slow, because it is the method we take to ensure that we have understood the problem well.

Slowness then is not incompetence but sensitivity. It is a working method designed to prevent us from looking for easy solutions to complex problems or, even worse, solutions to problems that no one has. Slowness is certainly a way to repolitize the ordinary. The vaunted entrepreneurial culture, which is so popular today, wants us to get used to the idea that something succeeds when it reaches clients, reaches or is very profitable.

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Barrio de Olaya Herrera, Cartagena de Indias, Colombia. Sector Playa Blanca, away from the hustle and bustle of the tourists who wander through the always freshly painted historic center of the city. This area is not so. The two thousand people who live in this sector, socially segregated, had been asking for a space to gather, to think and to act. "We have to claim our rights as a communal house and that public policies look at us. If not, we will do it our way, together, "said one of them.

They found in the Trópico project an ally to make these demands visible. It is an initiative that aims to take advantage of materials discarded by large industries that can be located on a map for the generation of local initiatives through the self-construction of objects. But Trópico is not just another project to produce furniture from recycled materials. It is a process that uses the necessary time for dialogue with the community and to establish a real and transparent exchange. No one helps anyone, everyone is involved in different ways.

The battered communal house of Playas Blancas was rebuilt, furnished and painted to the smallest detail. Project members explain: "The manufacturing process was done manually And artisan in days where we enjoyed talking, listening to music and singing while the furniture was being built, with tools borrowed by the neighbors. A space that consolidated a common dream, the readjustment of the communal house whose culmination was a program of activities with design workshops, community entrepreneurship and artistic expressions like the champeta that brought together all members of the neighborhood. p.11

And it is not necessary to take precautions against the market society to admit that we have to take responsibility for our actions and, in particular, the consequences of a design that produces more pain or more inequality. To repolitize the ordinary is to give importance to many gestures of our daily life that are not innocent at all.

Often we can choose which apples to eat and if we choose those grown in nearby orchards and with less aggressive procedures for the environment and other living beings, we are helping to create a different world. Thinking about these things may slow down our decisions, but it can also make the world we belong to more hospitable. We are slow because we want to get away or, in other words, because we have decided to build a less arrogant and humbler world.

We want our productions to incorporate the values ​​in which we believe and are not neutral. We are slow, like the craftsmen, because we like work well done, a work that, while circulating, creates a community that is not of customers or consumers, but of neighbors and accomplices.

Working slow makes us better citizens, because we give ourselves time to measure the consequences of what we do and to make our designs have souls, be a balm for those who feel excluded or mistreated. So we must not dwell on the importance of knowing the importance of prototyping. Ludwig Wittgenstein recommended that the greeting among philosophers be therapeutic: "Friend, give yourself time".

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3. Experimental
A prototype must be experimental and, therefore, collective, contrasted and public. It is done among many because we believe less in authors or geniuses than in culture that has managed to create spaces where knowledge and opinions are mixed. There is always one who signs it, but what it does is give form to the work of generations. We admire those who contribute the most to the community and are happy to see them as people who are recognized, admired and even loved. We like a world that rewards the people who give themselves the most. And we like it even more when these blessed people recognize their debt to everyone and not just to their clients.

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In the second Ibero-American Laboratory of Citizen Innovation (LABiCBR), Rio de Janeiro 2015, one of the participating projects, Suspended Gardens, proposed to build green roofs in the favelas of Brazil. Its beauty and its social character attracted more than one hundred people from different countries who registered to collaborate with him. Finally, a group of ten people was formed, with many people and a lot of experience in their fields. They knew exactly what they wanted and how they would do it. They had plans, schematics, and materials.

Then, they went to the Favela de la Maré to visit the community with whom they wanted to work. The first thing the neighbors told them was that what they were proposing was meaningless because of its danger: no one there climbed to the roofs for fear of the shootings and lost bullets that ordinarily crossed the skies of the Tide.

This scene highlights the importance of involving the affected community from the beginning, as well as the importance of knowing how to react and adapt the project to the circumstances. In the hands of the neighbors, they created another project, much more pertinent, which consisted in creating small gardens or gardens scattered throughout the favela, built using waste materials and mechanisms that took advantage of rainwater as a source of irrigation. Knowledge is something that in historical terms we create among all. And we do this by contrasting the diversity of approaches and opinions. When something that matters to us is at stake: • take precautions, • ask for second opinions, • we review the data supporting the allegations, • evaluate the credibility of witnesses • and weigh the possible impact of different alternatives.

To do so is to contrast a knowledge that only deserves such a name when it becomes public, and not only because there will be more people testing it, but also because in using it creates community, it authorizes forms of life more than others and validates a certain way of understanding justice, freedom, beauty or goodness.

To say that life compels us to contrast what we learn is not enough. We have to speak of error as something consubstantial to the process, as a possibility that we can not avoid. There is no learning without weakness. But there are more. We do not experiment to confirm what we already know or to test theories: the experiment is the very place of knowledge production, which is as much as saying that uncertainty is constitutional or, in other words, that we have to develop our ability to tolerate uncertainty if we really want to produce new knowledge.

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4. Figurative
We are not always clear on the way to go, and often we are confused or undecided among several alternatives. Many times we lack time, desire or conviction to dare to experience any of the possible directions. When we are in this situation, when we are very much burdened by the systematic construction work, we can suspend the method and try shortcuts that relieve us of the imperatives of rigor or the weight of the agreed-upon disciplinary traditions.

It is time to figure out a possibility, take it for granted, assume it is well built, and start exploring its consequences. We must be able to temporarily suspend the method, dispense with its mandates, allow ourselves to wander freer, allow weightless thinking, and dare with improbability, impropriety, illegitimacy, or inconsistency. It is not that we want to bet on a dysfunctional, abstract or abstract world, but rather we can imagine possible worlds before deciding the horizon for which we want to bet.

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Let us give an example of relief. When Rosi Braidotti proposes to us the figure of the nomad or Donna Haraway, the cyborg is inviting us to imagine a world without borders (without an inside and an outside) or a body without origin (half natural, half artefactual). It is not necessary that we take these stocks too seriously and then explore the debt that we would acquire with beings capable of To teach us to think the forbidden, the illegitimate, or the savage. To figure out the possible ones can help us a great deal to liberate our sensibility from the prisons of the disciplinary, the safe, the canonical, the logical and the patriarchal. We have to learn to understand our poetic skills and learn to experiment with connections that reason does not authorize but that emotional intelligence claims. "To better understand the city of the living, it may be worth looking at the city of the dead." This is how Paolo Vignolo, promoter, Archivos Afectivos, a project developed in Ciudadades de Aprendizos, (México, 2016) and tries to recover the dialogue between the polis and the necropolis through the collaborative construction of a digital platform that transforms the Central Cemetery Of Bogota, today very degraded, in a space destined to the rescue of the memory like common good.

As Vignolo tells us, "There coexists monuments to express and common graves, tombs of guerrillas and military; Grates, murals and memorials ... Radically different people, separated in life as a result of their political belonging, social extraction, gender and generation, share a common place from death. Throughout the years diverse population groups traditionally marginalized by history have been developing funerary practices, cults to the ancestors and activations of memory, turning the cemetery space a privileged place for initiatives of active citizenship and ethnic, political vindication And cultural. "

Posing the necropolis in this way allows us to recover its affective load and rethink the ties between us, the living, and with those people who have forged the history of Colombia and ours.

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5. Encouraging
A prototype is a commitment to hope, an attitude that was secularized by Ernst Bloch and ceased to be an exclusive of the imaginary of the religious. Turning hope into a way of life also in a work method requires betting on argumentative forms of a prospective nature and not so much on retrospectives. It implies looking for inspiration to come to think of the present before, as is usual in academic circles, to find the foundation for what we project in the inheritance received.

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"We are all different functional and we are claiming that condition, against the idea of ​​the normalized body, against the body excluded by a singular operation, but also against the subject body in the production and reproduction of the system, against the expoliado body of its powers." This is the philosophy that moves the project around the chair, which promotes the self-construction of objects that make life easier for wheelchair users.

Have you noticed that in order to enter a bar or a shop, as in most establishments, in general, you have to save a small step? As it is easy to get an idea of ​​the complications That this may mean for a person with reduced mobility. Just as difficult is to have to use the hands to maneuver the wheelchair while holding other objects. These are just a few examples of everyday situations that the project tries to transform through simple, open and low cost designs, such as a portable modular ramp or a folding table that attaches to the chair. But around the chair not only designs and encourages the self-production of those objects. Its true achievement is to empower a community, strengthen its convictions and broaden our eyes. As dictated by its main motto, the revolution will be accessible or it will not be. Hope is an ability to anticipate the future, to taste it, to inhabit it partially and to move to its contours. And, of course, if that place can snatch you, experience the strength necessary to be able to build it from now on. To hope is to get busy. Hope then is not something that happens in the future, but something that begins to happen from the very moment you are able to imagine a time to come that deserves to be built.

Expectations are the opposite of hope. Expectations are what the marketing experts make and who buy the most naive entrepreneurs: it consists of postponing for a tomorrow almost always unattainable what can never be from today. Expectations are fleeting stars in the sky of the precarious, the naive and the excluded. Hopes, on the other hand, are the imperceptible details that change our life and make it interesting, practicable and realistic.

A prototype then is never finished until it has changed our lives. We do not prototype to fill the world with more objects that can activate the market, the neighborhood or my collective, but to try ways of intervening the reality that first changed me and then perhaps my environment. A prototype never sells smoke because it does not propose something whose consequences we do not prove in our own flesh.

It may be imperfect, unfinished, erratic or precipitous, but a good prototype does not lie, it is not an imposture. It implies bodies, forms a proposal made from the most credible of places of enunciation: the body, connected with that of others and others that also yearn for a more living, less flat and finally vibrant world. A prototype is not an abstract proposal that awaits an ideal world where to take root, but an invitation to share the common world that produces.

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6. Recursive
Our lives are in beta (unfinished, under construction, attempts, ...), and also recursive. We rehearse solutions until we are satisfied. Time and again we try possible routes until we find the one that best fits our circumstances. This is what we call the test-error method. Academics call it recursiveness and always evoke it when the code that regulates a process has to be changed because it is either stopped or not attained.

They fix it by changing the initial conditions that regulate the deployment of the instructions so that what initially imagined happens. Chris Kelty, in his ethnography of a hacking community, broadened the word recursion by labeling hacking groups of recursive publics, after recording the (almost) obsessive concern they have for transferring to the code the values ​​they defend as a community. Moreover, it is not that they rely on devices above their beliefs, thus avoiding to separate the convictions of their productions, but aspire to those productions also support the community. Let's look at it with an example. Let's think about Wikipedia and the "fun" task of wanting to vandalize it ...

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There are those who, for whatever reasons, want to introduce inappropriate content and introduce (their) garbage into the articles. But Wikipedia has a technology, version control, that allows you to go back to the previous version (and not corrupted) with just a click. The "graciosos" then have it so difficult that it is not worth to intoxicate this monument of collaborative culture, open and free. The code that regulates the device we call Wikipedia guarantees its survival as an open company. At the same time, it is technology that makes viable the world they want to build The hackers. The open word thus acquires a precise meaning and materializes in a few lines of code, also delimiting the viability, robustness and hopes of the movement hackers. The infrastructure they produce not only makes the world a better place than the roads, but also constitutes them as a community. They build infrastructures that (auto) infrastruct them. And that is why it is imaginable to claim a right to infrastructures, because they not only manufacture an external world but simultaneously manufacture us according to the whim of the designer.

We all agree that one of the best contributions of 3D printing is the democratization of the manufacture of prostheses. If we join that possibility with a community of affected people and their environment that tries to share experiences, knowledge and care, the benefits multiply. Autofabricantes is a project that promotes these spaces of learning and production, seeking new theoretical and technical advances in the collaborative production of prosthetics, as well as favoring the creation of networks of users, support communities, makers and, of course, those concerned.

It is an initiative that, from the point of view of citizen science and the ethics of the free code, offers an "ethical and political alternative to the prosthetic patent system and extra costs of a closed industry", as its promoters explain. Each prosthesis constructed is the result of a collective learning and carries the differential signs of the community that creates it: open and replicable, as the canons of the common good command and the will to make things happen to improve the world.

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7. Affective
People from different worlds are understood if they manage to create a common world or, in other words, if they manage to understand each other. It is not necessary to give up the differences that constitute them and that enrich the group. There is no need to seek consensus that makes the diversity of viewpoints and lifestyles invisible. No one has to give up anything. It is enough that all assume as necessary to build a space where they can converge. It is not easy, because it has taken a lot of effort for us to reach some conviction and we often relate to them as if they were incarnated thoughts, a kind of invisible muscles. Prototyping laboratories usually have a very special and active corner: the place where the supply and demand boards are located, as well as the agenda of activities. These are analog communication devices that highlight the power of the community. In them, some participants express the needs of their team (tools, experts in certain areas etc.) while, in parallel, others share their experience. They can also schedule activities where they structure such knowledge in the form of informal talks or workshops.

It's great to see how so many participants juggle, support multiple groups at once, or create pauses in the maelstrom of intensive labs to teach others to use Open Street Maps or to make their own beer at home.

They are ordinary practices that express the willingness to collaborate among the participants and, in fact, make the laboratory durable and clearly overflowing with the notion of an event. To bet on the common, to rely on collaborative practices, demands a lot of effort to listen, as well as a lot of willingness to work together. Inevitably there are conflicts, frictions, misunderstandings, misunderstandings, and to move forward, we must solve them. Differences demand listening skills, empathy, and, in a few words, a lot of affective work. Affective? And what kind of effort is that? And, above all, what are their effects?

We talk about invisible and invisible work. We are talking about all the care that is needed to make life together work, from hygiene or adequate food, to the skills needed to perceive the relevant details, meaningful gestures, lasting silences, insistent speeches, impatience insufferable bets, timorous bets, imposed insecurities, disguised vanities, hidden pugilates or imperceptible incompatibilities, and, finally, all that is also present, influencing, affecting and disaffecting us, which has an agency as if it were actors of reparation, To which, at times, they demand protagonism.

They are influential factors that do not always overflow us. Containing, surfing, surfing requires skills that are never recognized and always decisive. Knowledge, after all, is also a human activity that involves the body, which involves us all. And although we have been told that it is in the head where knowledge happens, we know that it is not true. Knowledge is not only a matter of facts, but also of emotions. It involves hands and head, as well as feelings and care. The common space does not achieve the head without the complicity of the affections, without the effects that the affections achieve.

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8. Playful
According to Isabelle Stengers, modern science has forgotten its worldly origins in the seventeenth and eighteenth centuries to become too formal, elitist and unpleasant. No one benefits from this drift that matches the task of creating knowledge with the gesture of being concerned. And it is true that there was a time where they were in the salons of the most reputed ladies, the most precious philosophers with the most popular characters of the court, men and women, savants and courtiers, and frivolous, in a conversation that went from the sublime to the banal or from the serious to the playful without solution of continuity. People had fun while learning and learning while having fun.

Knowledge shared with the game spaces of sociability. The world seemed to be the fruit of a great half-gallant and half-useful conversation, sometimes more discursive than superficial and some more critical than baladí.

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The fact is that Stengers misses the spirit of those spaces of knowledge understood as places of production and not only as theater of vanities.

The prototypes must also recover that fun and relaxed atmosphere. Changing the world, starting with ourselves, does not have to be a boring or contagious task of severity. It can involve an adventure, be an encounter with the best of us or even involve the discovery of an invisible us. Many times they have studied the reasons why people want to collaborate on Wikipedia or participate in solidarity and benevolent projects. And yes, although it seems obvious, in addition to counter-hegemonic, all confirm that we are happier the more we give ourselves. And despite the individualists of the fifth advent, nothing is more joyful than the joy of sharing. Nor more contagious. The prototype does not replace deficiencies that claim the nostalgia of a lost world, but to affirm that the most modern, the most efficient and the most productive is to have fun working.

How can we integrate and know each other more often if we are so focused on our own work that dominates all the topics of conversation? In the long prototyping workshops, what is happening inside the laboratory is as important as informal programming, including nighttime programming. Exit physical space that unites us during these days and get together to know the city, visit other civic initiatives, see a show or go out dancing. They are moments to celebrate, to be surprised with the histories of the companions, to conspire with new projects or, why not, to fall in love. These are moments necessary to satiate of opportunities the restless minds that populate these laboratories and that change the logic of the production by the one of the meetings that revert the imaginary of the right to potarrear, by those of the right to fantasize. We know that they have often been key in solving conicts. And is that dancing, singing or folklore are never things of one. They are not individual events. Moreover, through these moments the laboratory is flooded with the local culture.

During these intensive events, it is necessary to find the balance between offering some organized play activities (it may be possible to go out to know a local initiative, a night of pechakucha presentations etc.) and leave the necessary space for improvisation and self-management, which Al nal are the essence of laboratories.

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SUMMARY

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TIPS
When working in a team:
 * You have to make sure that no one imposes their arguments on others. Often it is useful to promote rounds of opinion so that everyone, including the most timid, can express their points of view.

Avoid voting, because they always create minorities:
 * When there are discrepancies that seem irresolvable, we advise you to stop the meeting, have a coffee or take a short walk, and when you return, make a round where you do not vote, but each one explains the advantages and inconveniences he sees in the alternatives under discussion.

If you want the prototypes to be realistic:
 * It is essential to have the communities affected from the beginning.

Start working before the face-to-face meeting:
 * The sooner you begin the exchange of documentation and opinions around the prototype, the better. The previous work will help optimize the time in the face-to-face sessions, and reduce possible internal conflicts later.

Following the logic of open and collaborative processes:
 * Prototypes should be released with free and / or open licenses. If we conceive them as a space for the production of knowledge, proposals should be shared as a common good.

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MEANS

 * The culture of the prototyped Alberto Corsín http://laaventuradeaprender.educalab.es/-/alberto-corsin
 * The culture of prototypes Mar Abad, Yorokobu (January, 2013) http://www.yorokobu.es/culturaprototipos/
 * Urban prototypes: a space for citizen experimentation Adolfo Estalella, eldiario.es (September, 2012) http://www.eldiario.es/cuaderno-comun/Prototipos-urbanos-espacio-experimentacion-ciudadana_6_48705159.html
 * The right to experimentation Adolfo Estalella, Protityping (November, 2013) http://www.prototyping.es/experimentation/el-derecho-a-la-experimentacion
 * Think with prototypes. Retrieve the bazaar Juan Freire, Medialab-Prado (July, 2010) http://juanfreire.com/pensar-con-prototipos-recuperar-el-bazar-pensando-y-hacer-medialab-prado /
 * Workshop on prototyping: hospitality as culture and technology Antonio Lafuente and Andoni Alonso (2013) https://www.academia.edu/5324108/Profiler_of_prototipado_la_hospitalidad_como_cultura_y_como_tecnología
 * Gambiarra: The Prototyping Perspective Gabriel Menotti Gonring (June, 2010) http://medialab-prado.es/article/ambambiarra
 * Prototyping? Creativity and experimentation in the L ab Pablo Pascale (August, 2016) http://www.ciudadania20.org/prototipado-reatividad-y-experimentacion-en-el-lab /

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