Technologies To The People (TTTP) began in 1996, as part of the "Discord. Sabotage of Realities" exhibition project that took place at the Kunstverein and Kunsthaus in Hamburg. It was originally presented as a virtual company dedicated to bringing technological advances closer to the least privileged, a sort of vague corporation that reproduced dissuasive language, the identity tics and visual archetypes associated with the commercial companies in the digital environment. As a definition of the context in which TTTP originated, it is important to refer to a certain incipient explosion that was gathering momentum in the world of information technology at that moment; monetary mirages materialised there-public companies with inflated stock prices, exaggerated initiatives and platforms with no definition-which, after acquiring an incomprehensible media prominence, disappeared as if they had never existed. At the same time, and also in this initial period of the Net, notions uncritically idealising a supposed independence and democratisation of knowledge that the Internet should bring with it began to crop up, though in the end they never materialised. TTTP thus appears as a parody in the aforementioned double sense, i.e., as a disconcerting antithesis to the hypothetical wrongdoings of technological corporations, and also as an ironic counterpoint to the exhortations of the disciples of digital liberty.

Nonetheless and in hindsight, it could be said that TTTP has developed four more or less distinct courses of action throughout its life span: one, shaped around the launch of various products with which the corporation meddles in the market, ridicules the productive capacity
of the company itself and styles strategies for connecting and empathising with the hypothetical users. Among the most prominent projects in this sphere would be the Street Access Machine (1996), a machine allowing those begging in the street to access digital money; The Body Research Machine (1998), an interactive machine that scanned the body's DNA strands, processing them for scientific experiments, and x-devian by knoppix, an open-source operating system presented as part of the Individual Citizen Republic Project: The System (2003) project. Another course the work takes would be the critical reflection on the art world TTTP presents through the Technologies To The People Foundation with its collections distributed free of charge-Photo Collection (1997), Video Collection (1998) and Net Art Classics Collection (1999)-already calling the idea of material and intellectual property into question during this period. A third conceptual area would be constituted by the creation of the so-called e- pages (e-arco.org, e-manifesta.org, e-seoul.org, e-valencia.org, e-barcelona.org, e-sevilla.org, e-norte.org and e-madrid.org among others), which have become true platforms for citizen reflection linked to a specific cultural environment and a very concrete set of problems. Also to be highlighted from among TTTP's activities is the construction of the vast Postcapital Archive.

The Postcapital Archive (1989-2001), www.postcapital.org, was presented for the first time in 2006 at the La Virreina Centre de la Imatge in Barcelona as part of the Postcapital. Politics, the city, money project, together with the work of artist Carlos Garaicoa and essayist Iván de la Nuez. Since then this multimedia proposal in process-that not only allows user consultations but also copying and even modification-has gone on expanding in successive exhibitions, workshops and interventions in public space carried out in Oslo, Santiago de Chile, Bremen, Montreal, Istanbul, Dortmund and, more recently, at the Württembergischer Kunstverein in Stuttgart as an anthology.

In its current configuration, the archive contains more than 250,000 documents compiled from the Internet by Daniel G. Andújar over nearly a decade of creative work. These materials, among which publications, video and audio clips and image banks are to be found, sketch out a vast examination of the geopolitical transformations and the state of the communist and capitalist ideologies in the period spanning from the fall of the Berlin Wall to the attack on the Twin Towers in New York.

Throughout this entire period, the Postcapital Archive (1989-2001) has gone on developing projects of different scales and formats, some of which shape its presentation in "The Unavowable Community" project. Thus the proposal developed for Bòlit. Girona Contemporary Art Centre hinges around two major thematic areas in confrontation: one revolves around media imagery and the ideological stereotypes generated during the period spanning from 1989 to 2001; the other reflects on the nature of the archive itself, about which mechanisms of organisation, compilation and representation are used to categorise knowledge. Found within the first of these sections is the so-called Time Line, an extensive series of images from the media and advertising that shape a subjective chronology made from contrasts and antagonisms where the most varied of political occurrences from the post-capitalist period are narrated and illustrated. This sort of visual diary has its beginning and end in the publicity campaign launched by a South African newspaper with the slogan "The world can change in a day", which made use of the confrontation between two photographs, one of the Berlin Wall on 8 November 1989 and another of the World Trade Center on 10 September 2001.

In terms of the work integrating reflection on the forms of organising the knowledge proposed by the archive, an intervention that has already become a sort of emblem of the Postcapital Archive (1989-2001) is noteworthy. It consists of two large panels that show, respectively, the logos of the primary global corporations and the names of leftist organisations from all over the world, thus confronting capitalism and communism, the market and ideology. Situated in this same semantic space is the Tower of Knowledge, a wooden structure whose entrance has been blocked off. The Tower recalls the hierarchies of knowledge and houses the server which unites all of the compiled material and which offers the users the possibility not only to copy it but also to participate in its organisational layout since it is also located in this same semantic space, at the heart of the archive. Lastly we find two proposals that are complimentary in a certain way: an extensive collection of maps, diagrams and cartography that interprets recent social, political and economic changes, relating them to images of the new megacities and urban sprawl, as well as the so-called Postcapital Library, likewise a cosmology including texts, videos and other documents by over two hundred authors that could very well constitute a sort of post-capitalist canon.

www.danielandujar.org

Created by Joan Vila-Puig and Elvira Pujol Masip in 2002, Sitesize is a platform that proposes and develops collaborative projects of a specific nature, all linked by the common goal of studying, in depth, the economic, geographical and self-defining tensions that affect new contemporary urban spaces. To this end, Sitesize has focused on metropolitan Barcelona, an especially dense field of study burgeoning with problems arising from a lack of clarity regarding production, ongoing cartographic reconfiguration and certain supplantings that have thrown the social memory of the territory into disorder. In response to these circumstances, Sitesize utilises a methodology of immediate dialogue based on the visual, on territorial representations and on the development of elements of community cohesion. As a result of its work, the practice of autonomous cultural production in a particular social space is reinforced, contributing to the identification, shaping and transformation of the dynamics of both the action and of the places where this action occurs in equal measure.

Due to the variety and scale of its projects, Sitesize works in a number of fields of action in which it uses a range of approaches to explore urban paradoxes of various kinds and which, therefore, demand equally varied strategies of interpretation. First and foremost, it has run an entire series of projects that critically investigate the mechanisms of constructing self-defining stereotypes that sometimes mask the collective imaginary, which is rendered invisible. Four of its projects of this nature are especially worth singling out, each in its own way a reconsideration of the means whereby popular narratives are configured. Poble9, transformación local (2003; Poble9, Local Transformation) was an audiovisual documentation of the transformations in the Poblenou neighbourhood of Barcelona that compiled the testimonies of the people, collectives and social actors involved in the various processes of change that have taken place in this part of the city. Another project, along the same lines, is the exhibition VALLS-T (2003), which reflected on the territorial identity of the city of Valls (Tarragona) from a tourist point of view, taking as its starting point the city's morphological characteristics and its cultural values and economic obligations. Riu Ripoll (Ripoll River) (2002-03) took two forms (a website, www.riuripoll.net, and a workshop, TAO RIU RIPOLL, Sabadell, Temporarily Autonomous Office) and, just like the aforementioned works, engaged in an exercise of representation, a "referential audit" according to Sitesize, of the space of the Ripoll River as it passes through the city of Sabadell (Barcelona). Finally, along this same line of analysis, we find Pasaje Chile_Calle Barcelona. Imaginarios cruzados (2007-08; Pasaje Chile_Calle Barcelona. Crossed Imaginaries), a project that sought to reclaim social memory from official narratives (both in Barcelona and in Santiago, Chile), which are characterised not only by the exclusion of individual contributions but which also use suspiciously similar imposition strategies.

Another course Sitesize's work takes is made up of projects planned as collaborative initiatives, which are pursued through intense processes of dialogue, group learning and collective interpellation. Perhaps one of the most significant works of this kind was S.I.T. Manresa (2005), a service concerned with the territorial interpretation, research and dissemination of urban growth and expansion in the city of Manresa (Barcelona) and whose objective was to create a vast body of documentation for public consultation on the territorial narrative of the city, as well as the role it plays in relation to surrounding municipalities. A similar project was REGIÓN_ metropolitana _CULTURAL_ Comunitaria (2006; Metropolitan_CULTURAL_Community_REGION), a project that investigated the forms that define the social metropolitan space, taking as its basis the projects launched by various local communities that offered themselves as alternatives to the deterritorialisation of the regional imaginary and, at the same time, as paradigms of the cultural values of cohesion. Lastly, mention must be made of the workshop titled 2004; Cooperative City, which attempted to revitalise the collective experience of the city by reconsidering both the symbolic potential of certain urban spaces and the recognition of ordinary local figures, as well as renowned citizens and those that have passed on.

Sitesize's participation in the "The Unavowable Community" project attempts to revisit all of the initiatives previously referred to, amplifying them with specifically considered projects within their context and reordering them based on two distinct thematic nuclei: one that is grouped under the title Metropolitan Narratives; and the other that is called Permanent Classroom.

The metropolitan narratives could be defined as an approach to the forms of cultural creation and participation that contribute to the act of defining metropolitan space. This conceptual area, thus, unites a complete series of works that revolve around notions of ‘territory' and ‘community' with the intention of proposing new geographies based on collective forms of thought and action. To this end, four different proposals are presented: The Gate of Hell, a new investigation that explores the contrasts produced in certain urban spaces between the dynamics of use and the dynamics of life, focusing the analysis on the Barberà del Vallès zone on Barcelona's industrial outskirts; Metropolitan Agoras, which compiles acts of diffusion/construction in the S.I.T Manresa project's archive on the city's public space, thereby reclaiming the public space as a place of debate on the urban transformations of Manresa, while paying special attention to communities' capacity for producing cultural content; Un conservador de las cosas que se tiran (A Keeper of Things That Get Thrown Away), the story of the life of self-taught artist Manuel Sánchez, who not only embodies the imaginary of the Ripoll River as it passes through the city of Sabadell in the province of Barcelona, but is also a sort of exemplary model of the incarnate experience of the territorial; and, finally, situated in the apse of the Church of Sant Nicolau, a website that is intended to become a repository of autonomous metropolitan narratives.

In another distinct semantic space, we find the Permanent Classroom, a workspace inspired by libertarian pedagogies, defined as a learning community organised around the rereading and recomposition of the practices of the rationalist schools, trade unions and the libertarian cultural associations in Catalonia. The collective nature of pedagogical values means that here the construction of the community and the territory are linked and underpinned by education. Pedagogy thus becomes an action and enters political practice, since any activity acquires, in and of itself, a component of unavoidable learning. The three projects that make up the Permanent Classroom are acts of deed and reinforcements of meaning within the Campaña contra el Cuarto Cinturón (Campaign against the Fourth Ring Road in Barcelona) located in the apse of Sant Nicolau, which views collective action as a critical stance and, at the same time, as personal involvement in the definition of the territory; the publication of a Cuaderno Pedagógico (Pedagogic Notebook) that seeks to rewrite autonomous social construction on the basis of the processes of the pedagogic avant-garde in Catalonia and to connect them to current practices of pedagogic action in diverse urban areas such as New York, São Paulo, Granada and Barcelona; the publication of a series of posters that recover pictures of some of the barricades raised in Barcelona during the Tragic Week in that city (26 July - 2 August 1909) and that recall, at the same time, the role of women in the building of these physical contrivances of resistance, and lastly, the audiovisual work La ciudad suplantada (The Supplanted City), an invitation to the interlocutors who participated in the conference Repensar Barcelona (Rethinking Barcelona) to rename, reinterpret and rethink concepts such as power, public space, assembly or urban ecology, which seem to have been emptied of content.

www.sitesize.net

Set up in the late 1990s, the Archivo F.X. is an archive of documents under construction. According to Pedro G. Romero, the man behind the project, the archive "aims to lay the groundwork for the urbanization of the province of nihilism, to paraphrase Jürgen Habermas". To enable this process of ‘re-evaluation' to be put into action, the archive provides a map of nonsense taxonomies that can be used to read-taking a different approach, employing metonymy, learning and play-the tale that tells of the end of art in its two literal meanings: the end as purpose and as demise; the end as objective and also as destruction.

The main corpus of the archive is a huge collection of images and other audiovisual documents that record the extremely varied actions of anticlerical political iconoclasm in Spain. These materials-shattered sculptures, slashed paintings, charred rooms, churches demolished stone by stone and so forth-are classified according to the names of styles, movements, magazines, artists and works linked to what has come to be known as the modern avant-garde, from the Paris Commune of 1871 to the present day, from Malevich to Rothko, from Dada to the Situationists. In addition, every entry in the archive includes a series of texts that not only help to date the event in history-the iconoclastic action-but also help to draw unexpected associations between the image and its respective thesaurus. In these writings, we find documents that shed light on the event and the person who included it, as well as others that give the political, propagandistic and historical details of these snapshots. In addition, the entries contain reflections on the radical projects that make up the index of the archive, especially those that can be effectively linked to the named document.

Foucault wrote in relation to the method of Raymond Roussel: "In their basic function, Roussel's machines make all speech undergo a moment
of annihilation, in order to rejoin the language divided from itself-and yet identical to itself-in so perfect an imitation that between
that imitation and its model only the thin black blade of death has been able to penetrate." It could be said that the Archivo F.X. operates in the same way as these playful devices, reappropriating through artistic activity-from the most elevated poetry to the culture of entertainment-a transcendence associated with religious rituals, with their liturgy rather than their theological meaning.

Lastly, it is worth noting the words used by Pedro G. Romero to comment on the significance acquired by a language such as iconoclasm:

It should also be observed how the arts up to 1945 used iconoclastic methods not only to achieve full autonomy, by disassociating themselves from social functionalism and institutional ties, but also to expand into every area of knowledge and social practice, making a particular impact in spheres to do with the community.

In a landscape like that of today, in which the image has established itself as the main symbolic capital of the social imaginary, it was to be expected that iconoclasm-from the two Buddhas in Bamyan to the Twin Towers in New York, from the burning of national flags to the setting alight of effigies of political leaders, from the punk of rebellious youth to the new fallen idols of the masses-should, in all its violence, become the political gesture by antonomasia.

The works presented by the Archivo F.X. as part of the project "The Unavowable Community" are structured around an area of research recently embarked on entitled A Zero Economy. This investigation focuses on documenting the path of secularisation that has transformed some religious creeds and their rituals into what we today know of as the political economy. The research concentrates in particular on those changes triggered by certain iconoclastic processes. As a result, the proposal that the Archivo F.X. has worked on for Venice has a semantic architecture founded on three different concepts-money, community and knowledge-each of which constitutes an independent field in which internal relations and interchanges of meaning follow one after the other.

Accordingly, in pursuance of the reflection on ways of interfering with pre-existing museographical devices which was initiated at Santo Domingo de Silos Abbey and in the Catalan pavilion at the 53rd Venice Art Biennale, Archivo F.X. has developed a proposal for Bòlit. Girona Contemporary Art Centre, which is presented in three different spaces. The crypt of Sant Nicolau Chapel displays the Archivo F.X. file, the documentary nucleus of the proposal; the City History Museum permanent collection has been "questioned" by a series of embedded works; and the Jewish History Museum has had interventions intentionally placed in sections of its permanent exhibition. The two museums, therefore, are hosting Archivo F.X. applications.

Sant Nicolau Chapel displays a compilation of works carried out over recent years, notably the collection of postcards from Barcelona's "Tragic Week", produced for the exhibition of the same name held in 2002 at Santa Monica Art Centre, Barcelona; the ten Free Movement Sheets published within the project entitled Lo nuevo y lo viejo ¿qué hay de nuevo, viejo? held in 2004 at Espai Zero1 in Garrotxa County Museum, Olot; the book-object entitled Archivo F.X.: La ciudad vacía. Política which compiles material developed for the homonymous exhibition held in 2006 at Tàpies Foundation, Barcelona; Newsletter No. 1 entitled Archivo F.X.: Documentos y materiales from the 2007 Thessaloniki Biennial of Contemporary Art, together with Newsletter No. 2 which specifically examines the links between the economy, employment and iconoclasm, and also recognises the indebtedness of Archivo F.X. to Italian thought; the catalogue from the 2009 Silo project, produced by the Museo Nacional Centro de Arte Reina Sofía at Santo Domingo de Silos Abbey (Burgos); an "epistolary novel" entitled Las correspondencias, recently published by Periférica, on one of the interventions carried out for the Catalan pavilion at the 53rd Venice Art Biennale; and the latest update of the Archivo F.X. website (www.fxysudoble.org), which explores the origins of Georges Bataille and André Masson's communitarian idea and the ‘conspiracy' of Tossa de Mar around the founding of the review Acéphale, which was the starting point for the new genealogy of communism posited by Maurice Blanchot in The Unavowable Community. Finally, a graphic panel indicates and identifies the works or applications carried out in the collections of Girona City History Museum and the nearby Jewish History Museum.

The applications are conceived as slots, jokes or paradoxes, and operate not only within the formal, museographical devices of the above-mentioned institutions but also within their respective discourses, their manner of narrating the historic episodes with which they are concerned. Two sound pieces appear in the City History Museum section on Romanesque Girona. Las Finanzas developed out of an oral account by Pericón de Cádiz and sets up a lively allegory; Las Falsificaciones records a peculiar ideological history of money told by anarchist José "El Pelao" Romero Espada. The pieces are presented with an ironic atrezzo consisting of coin-shaped golden confetti and banknote-shaped photocopies of old Girona newspapers, in a somewhat histrionic reflection on what Pedro G. Romero calls "the spectral value of money". On the other hand, in the section on Spain's transition to democracy, we find Entrada: Postmodernismo collection of posters showing the reconstruction of a handmade 1936 poster designed by students at a Madrid school of Fine Arts in their demand for protection of the artistic heritage. The posters can be taken home free of charge by visitors to the Museum. Finally, in the section on the Spanish Civil War and Franco's political repression, we come across Tesauro: Pessetes, a set of reproductions of banknotes issued by Catalan institutions and popular organisations between 1936 and 1939. The banknotes expressed a complete shift of the territory from sacred to secular as they renamed the places where the notes were produced, thereby putting place-names on the map stripped of their former religious connotations.

The "Cemeteries" section of the Jewish History Museum hosts a sound piece entitled Las Lamentaciones, which explores the equivalences between language and the economy by considering the association between oral expression and the smallest monetary unit, in other words, the old system of counting out aloud, which is presented to us simultaneously as narration and pecuniary quantification. For this project, extracts have been taken from The Merchant of Venice by Shakespeare, a classic in which the financial equivalents of banking and the novel appear, perhaps for the first time, not only as genres that hold sway in the new modern order, but also as examples of the current paradoxical bio-political circumstances: human bodies violently affected by the global circulation of capital. In another direction, blended into the "Converted Society and the Inquisition" permanent exhibition, we find the postal piece Las Correspondencias which pursues the reflection on communication and trade carried out for Archivo F.X.'s proposal for the Venice Biennale. The piece takes as its starting point Lutheran Letters by Pier Paolo Pasolini, Dear Michael by Natalia Ginzburg and Letters from Prison by Antonio Gramsci, and links up an entire community of citizens of Venice who anonymously send each other letters ("notes") announcing unexpected notifications, debts, reflections, quantifications, reproaches and, as in any correspondence, the sorrows of love. Two different projects are presented in the open-air courtyard of the Jewish History Museum. Entrada: Anti-Globalización is a re-issue of four thousand copies of the coin minted by the Catholic Mutual Co-operative in Manlleu (Barcelona). The original coins were seized by the Municipal Committee and then later, in 1937, put back into circulation after the word ‘Catholic' had been mechanically removed from the back of each and every coin; Entrada: El Capital is a seminal proposal for the Archivo F.X.: La ciudad vacía: Comunidad exhibition held in 2006 at Tàpies Foundation, Barcelona. Finally, in the temporary exhibition room there is Entrada: La coquille et le clergyman projection and texts developing out of one of the Archivo F.X. files.

www.fxysudoble.org