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id="flowSpan1544">2</flowSpan>. "The language of diversity might have efficacy as a 'coping mechanism' for dealing with an actually conflicting heterogeneity". Himani Bannerji quoted in: Sara Ahmed, (2007) On Being Included: Racism and Diversity in Institutional Life</flowPara><flowPara
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style="font-style:normal;font-variant:normal;font-weight:normal;font-stretch:normal;font-size:42.66666794px;line-height:3.77952766px;font-family:sans-serif;-inkscape-font-specification:'sans-serif, Normal';font-variant-ligatures:normal;font-variant-caps:normal;font-variant-numeric:normal;font-feature-settings:normal;text-align:start;writing-mode:lr-tb;text-anchor:start">DiVersions asks questions such as: How can different orders coexist in online collections? In what way do we make room for material and immaterial heritage of the future, for things that are felt to be beyond the scope of museums and archives, or for other things that are consciously being ignored? How can these digital environments allow us to open up a discussion on relations between categorisation, colonisation and heritage? How can online collections accommodate radically different, and sometimes opposing perspectives?</flowPara><flowPara
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id="flowSpan870-4-5">We organised the project around seven artistic experiments that evolved in response to specific e-collections such as WikiMedia, the Carmentis database from the Museum for Art and History and the website of Werkplaats immaterieel erfgoed. Using a variety of artistic strategies, the projects test out in practice how techniques and technologies of networked collaboration might generate other imaginations. The projects are collectively </flowSpan>developed in dialogue with each other and in conversation with partner institutions. DiVersions unfolds in two subsequent public installations, first in De Pianofabriek in Brussels and later in De Krook in Ghent. Each of the two versions is accompanied by a version of a publication, a workshop and a public discussion.With the neologism 'DiVersions' we wanted to allude to the possibility that technologies of 'versioning' might foreground divergent histories.[1] Version-control systems, Wikis, etherpads and other digital writing tools save log files and so-called ‘diffs’ routinely, potentially changing linear relations between original and copy, redefining questions of authorship and the archive. Meticulously logged workflows promise to make the process of shared editing transparent since any action can be reversed or repeated at any time; errors or unwanted inputs can be later corrected. Even if the conventional narrative of 'versioning' is one of streamlining collaboration and producing consensus, these techniques and technologies inherently pay attention to difference. In Dutch, this became 'di-versies' as a play on divergent or diverse versions. Translated to English and French, DiVersions also evokes 'diversity', a term that especially in institutional contexts started to circulate as a blanket term for covering up issues of inequality and oppression.[2]. It is for this reason that we decided to explicitly articulate the project as a decolonial and intersectional practice. </flowPara><flowPara
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