Meeting #2
Present: All
Place: Cafe Natura, Goldsmiths, 10am-11:45am
Archive and documentation
////////////////////Key themes: Performing the archive and unfolding spaces – physical virtual – dissemination, performance, production, institution/non-institution, commons, resistance as overarching theme – subversion, challenge, ethics
General Discussion: Archive:
Archival Forms
Performing the archive
Producing an archive
Archive as Resistance
General References (Archive):
n http://www.art-omma.org/NEW/issue10/theory.html: Hal Foster 'Archives of Modern Art' and Derrida 'Archive Fever'
n LeFebvre: Production of Space, Plan of the Present Work
n Nicolas Mirzoeff The visual culture reader/Michel Foucault “Of other spaces”?
n Virginia Woolf A Room of One’s Own
n Susan Hiller, Last Silent Movie – archive of dead to near-extinct languages (audio)
n On Kawara
////////////////////First points of action: Finalise MA LAB process This will be seen as first staging of the unfolding archive – from this, we begin to think of ways to extend notions of archiving into other spaces, other formats, ie. using curatorial concept of collective and individual actions, cooperation etc…
//Continue with Blog as inter-group point
//Continue with glossary – seeking definitions both inside and outside of the Lab context
//practice inter-group mobility
//WEEBLY: Website: http://institutionalarchive.weebly.com/index.html
\\formation-deformation-reformation: an ongoing history of MA LAB And OCCUPY, notions of knowledge platforms, exchange
Production of a history of MA Lab archive –
1. upload all recordings into drop box – members interact with at least one recording, collating key information and sound bites to create a history of the Lab formation (and deformation)
2. Write response to the LAB group (performative, non-linear, playing with different forms of documentation
3. Collate articles, websites and research info relevant to the first weeks of LAB – images, articles etc..
4. Production of pdf book and physical zine to be dropped off at TATE archive – documentation of planting book into the institution
References: MA Lab, Occupy Movements, Sussex University Archives of Organisation, Archives of Resistance – cf. collectives and infiltrations, Archives in general
--On Kawara – aesthetic archiving – dates and collections of newspapers, clippings etc..
From LAB perspective: blog, glossary, notes, recordings, images, maps (walk), mind maps, personal experience (reports/reflections)
--Narrative of formation: Michael Taussig
-- Artist collective, Processed Worlds, entering spaces and documenting worker conditions through publication of a magazine, http://www.processedworld.com/History/history.html NOTE: History of infiltration: something to research?
-- Occupy Archives: http://www.theawl.com/2011/12/the-struggle-for-the-occupy-wall-street-archives Michelle Dean “The Struggle for the Occupy Wall Street Archives”
-- Blue Books: “"Blue books" was the Victorian term for Parliamentary reports, generally containing much statistical information, which had blue paper covers.”
Charles Dickens and the Blue Books (Marx and Cultural Studies: cf Kapital: The Working Day (chapter 10) as performing the worker’s existence – inviting resistance through infiltration: http://dickens.stanford.edu/hard/print_issue3_gloss.html (see Hard Times)
“Treachery of the Blue Books” Educational reports in Wales, 1846: http://en.wikipedia.org/wiki/Treachery_of_the_Blue_Books
http://news.bbc.co.uk/1/hi/wales/mid/4555702.stm
“A 19th Century report that became controversial for condemning the Welsh language has been published online by the National Library of Wales.
The government report about Welsh education in 1847 was dubbed the Treachery of the Blue Books (Brad y Llyfrau Gleision). Most of the 1,252 pages discussed the state of school buildings and the standard of teaching in Wales. But a section focussed on the language and even sexual morality. The report was written following a time of great social upheaval and change in Wales. The country had witnessed almost a decade of disturbances from the Rebecca Riots to the Chartist Riots in Llanidloes in April 1839. Social reformers considered education as a means of dealing with social ills. In 1847, the Government appointed R. R. W. Lingen, Jellynger C. Symons and H. R. Vaughan Johnson to undertake the inquiry and the three commissioners visited every part of Wales.”
//////////////// CREATIVE COMMONS
\\ http://creativecommons.org/videos/a-shared-culture
[An editorial] represents a new publishing paradigm, allowing
disparate content sources to be curated into cohesive, relevant, and
informative books. To date, this content has been curated from
Wikipedia articles and images under Creative Commons licensing,
although as [this editorial] continues to increase in scope and
dimension, more licensed and public domain content is being added. We
believe books such as this represent a new and exciting lexicon in the
sharing of human knowledge
\\ http://www.buzzmachine.com/
“We are sharing for good reason—not because we are insane, exhibitionistic, or drunk. We are sharing because, at last, we can, and we find benefit in it. Sharing is a social and generous act: it connects us, it establishes and improves relationships, it builds trust, it disarms strangers and stigmas, it fosters the wisdom of the crowd, it enables collaboration, and it empowers us to find, form and act as publics of our own making.” – Jeff Jarvis
:::::::::::::::::::::::::::::::::::::: CONSIDER
\\“David Bassett is wondering... how much economic 'value' did Jimmy Wales and Larry Sanger discard in making Wikipedia a public space? are we any worse off for that decision?” – David Basset – Philosophy of Economics \\“Wikiality” Steve Colbert: --Featured on The Colbert Report July 31, 2006.
Urban Dictionary: http://www.urbandictionary.com/define.php?term=wikialityhttp://www.urbandictionary.com/define.php?term=wikiality --Wikiality is a term first used on the news program "The Colbert Report" by Stephen Colbert, on Monday, July 31, 2006. Wikiality may be defined as: A reality where, if enough people agree with a notion, it becomes the truth. It is generally believed to be a portmanteau of the words "Wikipedia" and "reality".
--Wikiality refers to the changing of reality or truth via a Wikipedia-like system, allowing the public to change facts as long as there are others that agree.
--Reality as determined by general consensus rather than cold hard facts. If enough people say it is true, then it is true.
--Wikiality is an interesting concept derived from the theory of cultural relativity. It is based on the grounds of popular truth. If something is written on Wikipedia, then it is accepted on truth. Therefore, it can be assumed that everything on Wikipedia is the truth. However, anyone can edit Wikipedia. In such case, anyone can edit the truth (in theory).
"If only the entire body of human knowledge worked this way, and it can, thanks to tonight's word: Wikiality." - Stephen Colbert, The Colbert Report
"We should apply these principles to all information. All we need to do is convince a majority of people that some factoid is true." - Stephen Colbert, The Colbert Report
"As usual, folks, the Bush administration is on the cutting edge of information management." - Stephen Colbert, The Colbert Report
"What we're doing is bringing democracy to knowledge." - Stephen Colbert, The Colbert Report
"Definitions will greet us as liberators." - Stephen Colbert, The Colbert Report
"See, if you go against what the majority of people perceive to be reality, you're the one who's crazy." - Stephen Colbert, The Colbert Report
"The revolution will not be verified." - Stephen Colbert, The Colbert Report
"Together, we can create a reality that we can all agree on, the reality we just agreed on, and that's the word." - Stephen Colbert, The Colbert Report
Spin-offs from Steve Colbert’s Wikiality was the creation of Wikiality.com: http://wikiality.wikia.com/Main_Page See: http://en.wikipedia.org/wiki/Wikipedia_in_culture DEFINITIONS: references:
--Raymond Williams: Lexicon
--Iniva: Keywords Lectures
--Paul Chan: WHT IS? Production of online/published ZINES on keywords/concepts
--Manifesta: Now using Creative Commons
--Mercy Magazine: Early example of ZIne practice using creative commons, working with online/offline modes
--Scale of Creative Commons: http://www.creativecommons.org.uk/
-- Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity, Siva Vaidhyanathan
--Intellectual Property: SOPA, ACTA – IP WATCH: INTERNET FREEDOM UNDER THREAT: http://www.ip-watch.org/2011/04/19/report-finds-internet-freedom-under-threat/
-- Intellectual Property and World Patent War 1.0: http://www.economist.com/blogs/babbage/2011/12/intellectual-property-and-mobile-devices
//////////////// UNFOLDING SPACE(S): CREATIVE COMMONS in terms of physical space and virtual space
1. Knowledge production and dissemination – the political and economic currency of knowledge (cf. Wikipedia and creative commons for example)
2. Institutions/non-institutions, mobility within the dialectic
3. Art economies – shifting economies – macro/micro political nature of art production/practice and its socio-historical-political contexts
CONCLUSIONS:
// The White Reader: Production of reader with regards to notions of “white space” or the “white cube” – ie. texts, artists, works, spaces etc…to be compiled and worked with in the White Cube Archive space – ask for permission to use the White Cube Archive for next week’s meeting Wednesday, 15 February, 2012.
Thoughts - we have come up with institutions to interact with based on our own knowledge input..ie...so far we have decided to do a pseudo-history of the organisation in MA LAB (maybe formation/deformation/reformation) and to use the Tate as a staging of its historicity - it is a spatio-temporal staging with specific time and space...then White Cube as notion of "white paper" ie. a blank canvas - a void or a notion of space - the potentialities of the undefined space...using White Cube as a staging for this (cf. ie. Malevich White on White, Yves Klein empty gallery, Doug Wheeler now at David Zwirner, ie. the space as a dialectic (Lefebvre) - maybe uncovering the White Cube dialectic? This brings in notions of cultural hegemony, currency, dissemination, and structuring within a purely conceptual framework, not grounded in space or time as such?
Within this, forms of production, ie. notions of political books, ie. Mao's red book, Gaddafi's Green book, White Paper dossiers, "Blue Books", even the Little Black Book and notions of dissemination, ie. Felix Gonzales Torres Passports, political pamphlet, the artist book...also as Anna mentioned, creative commons, the extension of virtual into the real (ie. Paul Chan, zines, Mercy Magazine, Manifesta using CC, Angelo Plessas) notions of archiving as perfomative or formative practice.
Appendix:
-Simplifying the Authorship (Creative Commons)
-The idea of anonymity
Process of artistic group formation in the 60s. The commune concept
Examples:
Artempo: Where Time Becomes Art (Jean-Hubert Martin)- encyclopedic art exhibition
The Potosi Principle (Alice Grescher, Adreas Siekmann, Max Jorge Hinderer)
Occupy movement
- can we implement similar practices into our group project
Ethical relationship with institutions:
-Impact on the exhibition policy/curatorial projects
-Impact on the aesthetic content of the project
-Circulation of the artwork in the worldwide context
-Site-specivity of the artwork (globalizing the local, localizing the global) balancing national identity vs. global connectivity
-Cultural industry as cultural hegemony in a relation to archiving/knowledge production?
-Theoretical approach of ethical relationship?
////////////////////Key themes: Performing the archive and unfolding spaces – physical virtual – dissemination, performance, production, institution/non-institution, commons, resistance as overarching theme – subversion, challenge, ethics
General Discussion: Archive:
Archival Forms
Performing the archive
Producing an archive
Archive as Resistance
General References (Archive):
n http://www.art-omma.org/NEW/issue10/theory.html: Hal Foster 'Archives of Modern Art' and Derrida 'Archive Fever'
n LeFebvre: Production of Space, Plan of the Present Work
n Nicolas Mirzoeff The visual culture reader/Michel Foucault “Of other spaces”?
n Virginia Woolf A Room of One’s Own
n Susan Hiller, Last Silent Movie – archive of dead to near-extinct languages (audio)
n On Kawara
////////////////////First points of action: Finalise MA LAB process This will be seen as first staging of the unfolding archive – from this, we begin to think of ways to extend notions of archiving into other spaces, other formats, ie. using curatorial concept of collective and individual actions, cooperation etc…
//Continue with Blog as inter-group point
//Continue with glossary – seeking definitions both inside and outside of the Lab context
//practice inter-group mobility
//WEEBLY: Website: http://institutionalarchive.weebly.com/index.html
\\formation-deformation-reformation: an ongoing history of MA LAB And OCCUPY, notions of knowledge platforms, exchange
Production of a history of MA Lab archive –
1. upload all recordings into drop box – members interact with at least one recording, collating key information and sound bites to create a history of the Lab formation (and deformation)
2. Write response to the LAB group (performative, non-linear, playing with different forms of documentation
3. Collate articles, websites and research info relevant to the first weeks of LAB – images, articles etc..
4. Production of pdf book and physical zine to be dropped off at TATE archive – documentation of planting book into the institution
References: MA Lab, Occupy Movements, Sussex University Archives of Organisation, Archives of Resistance – cf. collectives and infiltrations, Archives in general
--On Kawara – aesthetic archiving – dates and collections of newspapers, clippings etc..
From LAB perspective: blog, glossary, notes, recordings, images, maps (walk), mind maps, personal experience (reports/reflections)
--Narrative of formation: Michael Taussig
-- Artist collective, Processed Worlds, entering spaces and documenting worker conditions through publication of a magazine, http://www.processedworld.com/History/history.html NOTE: History of infiltration: something to research?
-- Occupy Archives: http://www.theawl.com/2011/12/the-struggle-for-the-occupy-wall-street-archives Michelle Dean “The Struggle for the Occupy Wall Street Archives”
-- Blue Books: “"Blue books" was the Victorian term for Parliamentary reports, generally containing much statistical information, which had blue paper covers.”
Charles Dickens and the Blue Books (Marx and Cultural Studies: cf Kapital: The Working Day (chapter 10) as performing the worker’s existence – inviting resistance through infiltration: http://dickens.stanford.edu/hard/print_issue3_gloss.html (see Hard Times)
“Treachery of the Blue Books” Educational reports in Wales, 1846: http://en.wikipedia.org/wiki/Treachery_of_the_Blue_Books
http://news.bbc.co.uk/1/hi/wales/mid/4555702.stm
“A 19th Century report that became controversial for condemning the Welsh language has been published online by the National Library of Wales.
The government report about Welsh education in 1847 was dubbed the Treachery of the Blue Books (Brad y Llyfrau Gleision). Most of the 1,252 pages discussed the state of school buildings and the standard of teaching in Wales. But a section focussed on the language and even sexual morality. The report was written following a time of great social upheaval and change in Wales. The country had witnessed almost a decade of disturbances from the Rebecca Riots to the Chartist Riots in Llanidloes in April 1839. Social reformers considered education as a means of dealing with social ills. In 1847, the Government appointed R. R. W. Lingen, Jellynger C. Symons and H. R. Vaughan Johnson to undertake the inquiry and the three commissioners visited every part of Wales.”
//////////////// CREATIVE COMMONS
\\ http://creativecommons.org/videos/a-shared-culture
[An editorial] represents a new publishing paradigm, allowing
disparate content sources to be curated into cohesive, relevant, and
informative books. To date, this content has been curated from
Wikipedia articles and images under Creative Commons licensing,
although as [this editorial] continues to increase in scope and
dimension, more licensed and public domain content is being added. We
believe books such as this represent a new and exciting lexicon in the
sharing of human knowledge
\\ http://www.buzzmachine.com/
“We are sharing for good reason—not because we are insane, exhibitionistic, or drunk. We are sharing because, at last, we can, and we find benefit in it. Sharing is a social and generous act: it connects us, it establishes and improves relationships, it builds trust, it disarms strangers and stigmas, it fosters the wisdom of the crowd, it enables collaboration, and it empowers us to find, form and act as publics of our own making.” – Jeff Jarvis
:::::::::::::::::::::::::::::::::::::: CONSIDER
\\“David Bassett is wondering... how much economic 'value' did Jimmy Wales and Larry Sanger discard in making Wikipedia a public space? are we any worse off for that decision?” – David Basset – Philosophy of Economics \\“Wikiality” Steve Colbert: --Featured on The Colbert Report July 31, 2006.
Urban Dictionary: http://www.urbandictionary.com/define.php?term=wikialityhttp://www.urbandictionary.com/define.php?term=wikiality --Wikiality is a term first used on the news program "The Colbert Report" by Stephen Colbert, on Monday, July 31, 2006. Wikiality may be defined as: A reality where, if enough people agree with a notion, it becomes the truth. It is generally believed to be a portmanteau of the words "Wikipedia" and "reality".
--Wikiality refers to the changing of reality or truth via a Wikipedia-like system, allowing the public to change facts as long as there are others that agree.
--Reality as determined by general consensus rather than cold hard facts. If enough people say it is true, then it is true.
--Wikiality is an interesting concept derived from the theory of cultural relativity. It is based on the grounds of popular truth. If something is written on Wikipedia, then it is accepted on truth. Therefore, it can be assumed that everything on Wikipedia is the truth. However, anyone can edit Wikipedia. In such case, anyone can edit the truth (in theory).
"If only the entire body of human knowledge worked this way, and it can, thanks to tonight's word: Wikiality." - Stephen Colbert, The Colbert Report
"We should apply these principles to all information. All we need to do is convince a majority of people that some factoid is true." - Stephen Colbert, The Colbert Report
"As usual, folks, the Bush administration is on the cutting edge of information management." - Stephen Colbert, The Colbert Report
"What we're doing is bringing democracy to knowledge." - Stephen Colbert, The Colbert Report
"Definitions will greet us as liberators." - Stephen Colbert, The Colbert Report
"See, if you go against what the majority of people perceive to be reality, you're the one who's crazy." - Stephen Colbert, The Colbert Report
"The revolution will not be verified." - Stephen Colbert, The Colbert Report
"Together, we can create a reality that we can all agree on, the reality we just agreed on, and that's the word." - Stephen Colbert, The Colbert Report
Spin-offs from Steve Colbert’s Wikiality was the creation of Wikiality.com: http://wikiality.wikia.com/Main_Page See: http://en.wikipedia.org/wiki/Wikipedia_in_culture DEFINITIONS: references:
--Raymond Williams: Lexicon
--Iniva: Keywords Lectures
--Paul Chan: WHT IS? Production of online/published ZINES on keywords/concepts
--Manifesta: Now using Creative Commons
--Mercy Magazine: Early example of ZIne practice using creative commons, working with online/offline modes
--Scale of Creative Commons: http://www.creativecommons.org.uk/
-- Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity, Siva Vaidhyanathan
--Intellectual Property: SOPA, ACTA – IP WATCH: INTERNET FREEDOM UNDER THREAT: http://www.ip-watch.org/2011/04/19/report-finds-internet-freedom-under-threat/
-- Intellectual Property and World Patent War 1.0: http://www.economist.com/blogs/babbage/2011/12/intellectual-property-and-mobile-devices
//////////////// UNFOLDING SPACE(S): CREATIVE COMMONS in terms of physical space and virtual space
1. Knowledge production and dissemination – the political and economic currency of knowledge (cf. Wikipedia and creative commons for example)
2. Institutions/non-institutions, mobility within the dialectic
3. Art economies – shifting economies – macro/micro political nature of art production/practice and its socio-historical-political contexts
CONCLUSIONS:
// The White Reader: Production of reader with regards to notions of “white space” or the “white cube” – ie. texts, artists, works, spaces etc…to be compiled and worked with in the White Cube Archive space – ask for permission to use the White Cube Archive for next week’s meeting Wednesday, 15 February, 2012.
Thoughts - we have come up with institutions to interact with based on our own knowledge input..ie...so far we have decided to do a pseudo-history of the organisation in MA LAB (maybe formation/deformation/reformation) and to use the Tate as a staging of its historicity - it is a spatio-temporal staging with specific time and space...then White Cube as notion of "white paper" ie. a blank canvas - a void or a notion of space - the potentialities of the undefined space...using White Cube as a staging for this (cf. ie. Malevich White on White, Yves Klein empty gallery, Doug Wheeler now at David Zwirner, ie. the space as a dialectic (Lefebvre) - maybe uncovering the White Cube dialectic? This brings in notions of cultural hegemony, currency, dissemination, and structuring within a purely conceptual framework, not grounded in space or time as such?
Within this, forms of production, ie. notions of political books, ie. Mao's red book, Gaddafi's Green book, White Paper dossiers, "Blue Books", even the Little Black Book and notions of dissemination, ie. Felix Gonzales Torres Passports, political pamphlet, the artist book...also as Anna mentioned, creative commons, the extension of virtual into the real (ie. Paul Chan, zines, Mercy Magazine, Manifesta using CC, Angelo Plessas) notions of archiving as perfomative or formative practice.
Appendix:
-Simplifying the Authorship (Creative Commons)
-The idea of anonymity
Process of artistic group formation in the 60s. The commune concept
Examples:
Artempo: Where Time Becomes Art (Jean-Hubert Martin)- encyclopedic art exhibition
The Potosi Principle (Alice Grescher, Adreas Siekmann, Max Jorge Hinderer)
Occupy movement
- can we implement similar practices into our group project
Ethical relationship with institutions:
-Impact on the exhibition policy/curatorial projects
-Impact on the aesthetic content of the project
-Circulation of the artwork in the worldwide context
-Site-specivity of the artwork (globalizing the local, localizing the global) balancing national identity vs. global connectivity
-Cultural industry as cultural hegemony in a relation to archiving/knowledge production?
-Theoretical approach of ethical relationship?