Annex
Antye - discussion one to one > feedback needs edit > form editing groups Good process
Sina finished with A and Q reivisite and edit read everyone
Lilia discussion about the general editing/ tone of the texts editing with someone individual questions
Adrijana which tone? how tom answer since it's public think together about the tone still working on the last
Rob still has to answer the Q2 Read everything and adjust the tone Have a reading of the all thing
Sara Busy with Q2 advice on what has been writen. Can be one to one or togteher
Isabel> we are using similar language > manifesto like = Introduction = school - lines of thought of the institution overlap between the 2 questions it might be that one A leads to the other Discuss about one issue - maybe some mentoring Didn't read the other ones -
Nicolas both texts - wants to add material still text 2 is waki
Wednesday Sina > Nicolas Lilia > Antye > Isabel Sara > Rob > Adrijana
Thursday Lilia > Antye Nicolas > Adrijana Sina > Isabel
Thursday evening Lilia > Antye
Friday 10:30/11:30 ? Sara > Antje about personal publication: 11:30 sina
TONE OF QUESTIONS
Introductions > statement of a.pass How it came about what is the structure > Score > because of that there are different expressions Introduction with names, content and titles of the individual publication
Keep personal input > love
Read ability of the context = 6 individual publications
Title: Annex Associated Researchers Cycle I With:
Keywords > Lexicon
Diagram ?
6 Cover pages > Image of each of the publication
Writing Score for Annex publications Cycle I 2018/ 2019
The a.pass Research Centre started in 2018 a new program which hosts for the duration of one year up to 6 Associated Researchers. The Research Centre as a platform for exchange in artistic research wants to question publishing as ways of making public research and supported the production 6 individual publications.
These publications want to activate the thinking about documents and their agency; to contribute to the field of AR; to address the role of a.pass and the conditions if offers within this field; to articulate on what kind of epistemologies research produces.
The Cycle I of the a.pass Research Center was composed by Isabel Burr Raty, Adrijana Gvozdenovic, Antye Guenter, Sara Manente, Rob Ritsen and Sina Seifee. The Associated Researchers were accompanied by Alex Arteaga, Nicolas Galeazzi, Lilia Mestre, Vladimir Miller and Pierre Rubio as curators of the Research Center. This program operates as a platform for the exchange of artistic research and wants to problematise forms of publishing in artistic research.
The Associated Researchers of Cycle I contributed to the platform with concerns, concepts and ways of doing inherent to their practices as researchers. For the Cycle I, exhibition otherwise, fermentation, ........... were the the subject matters and their entanglements brought to the working table.
This annex serves to contextualise the individual publications through a Writing Score made by all Associated Researchers and Research Centre Curators.
Instructions
The distribution of the questions and answers was done through chance procedure. We wrote the names of all participants on small pieces of paper, folded them and picked up by chance who was questioning whom.
First Q - META- to arrive before the 13th October First response to arrive before the 27th October
Second Q - ON PUBLISHING- to arrive before the 3 November Second response to arrive before the 17 November
Sina > Lilia Vladimir > Sara Alex > Vladimir Pierre > Adrijana Rob > Pierre Isabel > Alex Adrijana > Isabel Antye > Rob Nicolas > Antye Lilia > Nicolas Sara > Sina
We used a pad as the container / storage of the questions and responses. When the questions were ready they were copied and pasted in the pad and sent by email to the person addressed.
We met in PAF (Performing Arts Platform) for a week to feedback and edit the individual publications and the content of the Annex.
INDIVIDUAL MEETING FOR THE PUBLICATION
SINA fanzine how to write as a visual artist. - can you give the authority to the text (how do you write, where do footnotes come?) what would be the consequence of the linear argument? do you reflect /share what you found out through the reserch that bestiaries are tool for studying?
contemporary bestiaries: disneyland, star wars, ... manual of the animals list from the serie. integrated storytelling. Creating a form of knowledge... am I wandered by it? Relation with fable animals. sara: Exoticism or wunderkamer. Calvino invisible cities (calvino. Report from elsewhere). fanzine: fan-zine or fanatic zine. Diy. Say something about bestiaries, that can be proven wrong... until now I can say whatever I want.
Nicolas: What about Journal, Review, instead of Fanzine...?
jeroen: can literature be enough? Katheleen stewart with Hundreds? Is it a proposal in anthropolgy and affect studies?
antye: journal and society are somehow linked too much to 19th century science. How would one name a 'publication' in the future? Something like a log etc.
Nicolas: log for programming: whta should be change in a programme in a political level.
Lab journal, video log? Journal science review literature
undefined.1. digital media traffic. animal social media. Media field of looking at images, traffiking of this expressive sensual images. Towards zoology.
undefined.2. cinderella's diaries.
undefined.3. Visual trope making. Baroque style of empirical analysis.
undefined.4. Staging of nature in industrial entertainment. Diving into zoology.
rob: You tube is the new bestiaries
readability: how do you like the text to be read? Like book has to be visually readable. Entering into the world of the text.
Nicolas: How much do you let the reader experience your methodology / fascination / questions; or how much do you reflect, share and conceptualise your methodology? How much image? how much fanzine stile, pachworking etc?
You might want to mentioning the next issues as a teaser.
Let us experiance your approach/approaches to visual cultures. Waht kind of a statement you want to make about visual culture? cunsumption?
jeroen: cesar aira on contemporary art. everyday a page. the continuity, disconitnuity between process and product. discontinuity: everything around a work be a secret.
ADRIJANA: web publication. in the form of ESSAY archivingartisticanxieties.me editorial team: sina, pia and goda and my sister christina. comments and footnotes are first visible and come first starting from application. hyperlink to the event in apass. exhibition happening more in time than a space. I was uncomfortable thinking of the website with a spatial visualization. how to treat time? how to organize content in time. the research changed what I do: text (in the center of the website but not in the center) then footnotes, photos, text, sound... sara: "palinsesto televisivo" overview of all the programmes from a tv channels producing pdf to change the programme sina: anxiety as fluid experience of reading : time. the role of the editor: goda: prescribe one historical character to relate to during the writing... pia and sina too. responding to the material proposed. who's the reader? I am trying to take stg out of what I am thinking. i want that the way of writing is in relation to others. "rayuela" cortzar you can read it as you want. jeroen: what kind of search engine? if you come to see performance: you know where is it? I want people to land in something, one event and you read. then you choose to read everything and you go somewhere else. jeroen: as reader I am an editor or a visitor in your garden?
sara : idea of tv: i open the website and it opens to one footnote. from there I can navigate with keynotes, author.. nicolas: first and last b/W to w/b. all on top of each other with different colors. order of the pop window in front. jeroen; hierarchy first and last essay and in between everything. but editors are aso reader. one possible readings as historical character. how the character from the different editors come to the foreground. me as a visitor I want to print the green version of the essay. adrijana: you print what you read nicolas: but what about opening a page and you are not interesting, is it still printed? this is browsing. browsing: print and then I can read. I am printing the chart of my attention : so it will be printed in fragments. as an evidence of which part you read. antye: maybe it's more important whta does it create. adrijana: I can maybe do performances after from it. it's a way of archiving and working. it's an attitude towards publishing. whta you get it's a detail: an event, a bibliography... how is sina going to find a visual solution? nicolas: stickers solution. adrijana: I am interested in time but i cannot visual at the moment. I wanna start from principles of it. I don't want to see the whole essay. it's in relation to details that I get the whole thing. sara: is it a way to work with the anxieties of what to choose and how to choose to read for example... anxieties as a reader? nicolas: pdf is freezing the process. adrijana: materiality of attention. i can perform the website: I do one version of one walk. you cannot download you can only print. the understanding of the essay, the reflectiveness of the essay is not on the spotlight. ANXIETY OF THE READER NL schroom/ TITUBANZA jeoren: essay is a collection of things so that the timorous subject can appear. it's the entire project about the anxiety antye: play even more: collecting and printing what does it mean in relation to anxiety? is it fixating pro or contra anxiety? mailchimp: you design your newsletter, you can make a test and test tool. monkey hand: are you sure to make it? jeroen; I get lost in anxiety: swimming in the ocean in the archive? or publishing anxiety?
Antye: textile poster publication in reference to poster by scientist for conferences they print on textile because they can iron them, because they travel, reuse
performance/lecturing
textile also referce to image making in fmri there is an interesting connection between 2d and 3d metaphor relation between pattern in textile and braintalk
art and use, design, activation textile poster can be a scarf visually and materially pleasant for people to wear it silk -> bourgois -> what does this mean? What silk to choose
Rob and sara think you should choose 1930 SI twill 12,5mm
photo in de back scientist with hankerchief metaphor for the brain
background gradient colorscheme that obscure brain/tech/spiritual companies use.
different ways of how to use the scarf last option attract alien thoughts. on a band of paper that will wrap the scarf this will also be colophon and intro
not sure about what the text will be on the 'wrapping'
question will be also how much text will be on the poster.
Nicolas: thinks text should not follow the pattern Antye: thinks it is interesting when the text is integrated in the pattern
Rob: font why antye: visual attractive, name wintermute, not courier sans same as website.
What kind of text do i want to put on it quotes science no reference extra info on the wrapping
pattern quotes
brain voyager quote
Jeroen: brain vogae quote is more poetic not so direct as pattern quotes
Sara: text around border, diagonals look into design function
Nicolas: are the text information or impression
Jeroen: dont go in weaving methaphors when using pattern quotes because the silk is printed not woven sara: look at hui hui and jean paul lespagnard scarf. nice patterns
* * *
* alighiero boetti
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Nicolas: referencing interesting but also your thought about them Adri: how the help you to choose nicolas : what is the logic of that brain capture of a certain collection the logics of that one i would need to be able to choose -capture of a moment of thought (atmospheric) -just to be nice result of all what could be said (balance aesthetic and concept) -or even een logic line of thinking (making a point)
ROB
He created some INSTaNCES and the publication is jsut an other INSTANCE.
This comes form reading sessions that were formated through different scenographies/furniture. every of these moments the design collective D.E.A.L. desined a poster as a way of taking the information to the next moment. These posters are the startingpoint for the publication.
There is now a dummy: Questions: - how to fold the posters to a readable and transprotable format?
Solution: A3 prints plain, 3 times folded, the content of the origial poster is disassambled and distributed throughout the publication of An essay about the process and interview will feature a conversation between the designers and Rob. The pages will be print in different processes.
Rob worked on the essay. He will write about the experience, but this looses the references. Actuelly the references could shouw the base from which this research is comming from. Form is an issue that is discussed since ling time and all the references build an interesting context for the discussion of art. I cant explain them all but I'd like to share the interesting thoughts and texts that made thsi project.
Nicolas: that is not a contracicton. You can write about the references in terms of how yu read them and how the influenced the creation of the INSTANCES.
Rob: So that essay can be a storry telling about how the concept of form in the 20century influenced my practice and the concrete mOments
Antye: you really should write waht you want to write about.
Rob: The title is Forms of Lives of Forms. Wittgenstein and Agamben use the them.
Jeroem: It's interesting to read about the genealogy of teh projec in parallel of the genealogy of term in the philosohic discourses.
Everyone likes this format Rob: I need a feedback on the essay: before christmas I have to give it to the essay to the designers. This means deadline of writing would be 15 Dez if it should be rewread by the RC members.
Sara#:
I'm edditing a magazine called ROT. Taking adventage of the possible performativity of the magazine. encoudntered different peopple by chance of by choice to ask them for a reciep for food of art making. To place them in a interrelation way with each other.
Working with twoo designers, one that is more into fanzines and then one that is more commercial orientated. I deosnt' have the tone of a serious text but the content should come throuh the different recieps. The contributions are very different: Advertisment, DIY reciep, interview,
I wanted to tdo this research publication in the way how I see fermentation processes working.
At the end of the publication the biographny of everyone involved will be included.
Showing into schreensshots:
There is a editorial needed, but not to explanatory about the context of thoughts, but to tell more about the becoming of the reciepts.
List of recipents
(@sara: could you place the list here)
nicolas: geography of what is around me. contemporary survey of what is around me, of what I am rotting me "if I shout recipes what is coming back) how much do you inforce that? do you try to make stg interestign, connect? what guides me through as a reader?
Sara: there is somethkg abot the procimity of thinsg with out controlling or overlooking abozt the howle thing. There will be an indext list.
Nicolas: how much do you reveal the decision strategy of the order of the recieps?
Sara: I don't have every decicion in my hand, because some pages are bw othes coloured. But generally i would follow my intuition to create interesting tensions.
Sina: Your magazine yhould be a source to make a map afterwards.
Antye: What is our realtion to curatorship, between you as a editor and you as an artist. Do you see it as a creation of your own realm?
In general I donte see it like I'm makeing my festival to show my piece in it. The research is commin gout of the collaboration witgh the contribtors.
Sina: How do the contribition also problematise your research?
I would be happy already that the problematisation come out of the research, but ...
Jeroem: The problematiosation should be in the editorial. The reciep book is more the one of your granmother who took notes about the reciepst of er own or of other people.
how to problemtaize my research? in the editorial. the real model is the recipe book. editorial, imagining a recipe book from interesting because they problematise your research. fiction in the editorial . how this ferments your research and makes it rotten. the way of making is continuing researching. how to write the editorial too. as contributors I would be intereste
Adrijana: as somebody that contribted, I would be super interested to see how the contribution come to you and how you compiled it into the magazine. the way you make the editorial will also problematise our work, and i would like to read this in order to have something to chew on.
Sina: timing? It seems to be a lot.
December wil be the month to work on it and to write the editorial. Do you all agree that I soud not write about the research but about the making of the magazine.
Antye. if this owuld be a real fancy reciep book, what kin d of a editorial would they create?
Adrijana: the tone of those magazines cold be a hint for you.
Sara: A role model could be MOLD. the editorial in thsi magazine you be an explanation of the collection of articles.
Shold I mention Artistic Research in my Magazine?
Antye/Sina: you can talke more abot the concept of fermentation and knowledgeproduction. You suggest a wordl view throuh this magazine.
Jeroem: Will there only one issue of the Magazine or will there be more? This might influence the editorial.
I might applie for a festival on food and art, and so probably more issues could come out.
Antye: what youd you help to write the editorial.
Sina: oftehn they put even a nice picture of the editor and the signature !!
Jeroem: In general the project seems to be very consitent, as it features your artistic friends and family. This will be very interesting to read.
Technicalities/Practicalities
How many individual, how many Annex issues?
Antye: idealy 50; min 30 (most likely 40) sold for 150€ (hand signed and numbered) ; asks for 1/3 for herself (these scarfs will become the special embroidered edition, which stays with the artist)
Rob: 100 issues; 1/3 for himself/D.E.A.L. Creative commons licence. (PDF for free) sold for 25€
Sara: at least 250 copies; costs is 2000-2500€; 500 copies might be 400€ more; (Sara pays the designer herself) Cotributors (30) should get 1 copy. Buda could ev. put money in it. (1000€) Then theny need copies (150?) Sara needs 70 some of which should be distribited guerillia stile in Kiosk. Creative commons licence. (15-25€)
Finishing the Annex?
Do the timelines and deadlines work out?
Colophone/Credits/Publisher Sara: VGC has to be mentioned ; ev.
Book launch.
Tommorrows presentation:
Question: Intellectual property right.