User:Mania/Fake assesment

What do you want to make?

My final project will be a magazine (Fragments Magazine) that actively engages readers in experiencing and reinterpreting the spaces they inhabit. What makes Fragments a magazine is its continuity and collaborative approach, utilizing workshops to create content, which outcomes are meant to invite performative interactions with space. I want to understand how a magazine that is meant to be read or even played outside can influence the way we perceive our surroundings. Therefore Fragments magazine is a repository for paper-based tools that redefines what a magazine is commonly understood to be. By actively existing in public space, it becomes an interface for specific actions and experiences, rather than just a container.

Fragments is a magzine about seeing our cities

piece by piece and looking with with curious eyes.

It's published intermittently and meant to be read

outside. Fragments publications are printed matter

supporting performative interactions with space.

chapter of my thesis unfolding into a kite

How do you plan to make it?

fragments from my notebook

What makes it a magazine is its continuity, there is always the next Issue.

Content will appear in smaller Issues each dedicated to direct attention to a specific theme.

It takes a fragment as a starting point for sharing, layering, reconstructing, embracing multiple perspectives to envision different ways of seeing and engaging with our direct environments. I started experimenting by fragmenting what I see on my street to bring certain things to the surface. I continued with both image and text, trying to see how isolating certain details changes the understanding of the place. What stories do these fragments tell? Conceptually, something intrigues me about the idea of looking at a city piece by piece. I think we only ever see fragments, and no image of a city is ever complete. It’s this uncovering bit by bit, discovering something unexpected, that excites me about wandering around the city without a plan, without a goal, just seeing what reveals itself to me.

Moreover, fragments offer the possibility of connecting them with other fragments, rearranging them, bringing certain elements to the forefront, gives me a lot of room to reimagine certain things and also to invite others to do this together with me.

public moment

instructions to add your own fragment to the collective collage

Workshop format

inspired by "A house of dust" by Alisson Knowles

The way I want to test some of the formats and ideas but also gain knowledge is through giving and participating in workshops. I’m planning to organise a workshop in De Boog to make a publication that doesnt just depict the surroundings how I see them but engages readers in experiencing and reinterprating them.

I used my coloqium as an oppurtnity to test paper based tools.

Another method could be a group walk, followed by a conversation to share insights. I’m planning to dive deeper into situationists approach in order to find methods for playful encounters and interventions to design format for the magazine to exist also outside.

An important part of my practice is experiment with print, for this project I want to explore web to print.

Tools we made during my colloquium

A TOOL

FOR people who get lost in their thoughts

            TO SEE the absurdity

                  IN open space

A TOOL

FOR people always in a hurry

            TO SEE the stories in gestures

                  IN the shadowed corners

A TOOL

FOR people who love surprises

            TO SEE the endless possibilities

                  IN an open park at night

A TOOL

FOR people always in a hurry

            TO SEE the city as a game

                  IN the spaces in between

A TOOL

FOR people who always carry a notebook

            TO SEE with the greatest precision

                  IN an open park at night

A TOOL

FOR people who speak with their hands

            TO SEE the stories

                  IN every turn they take

A TOOL

FOR people who miss their hometown

            TO SEE the absurdity

                  IN open space

Why do you want to make it?

I want to combine the topic of urban space with the format I love—publications, specifically a magazine. I'm curious to explore what a magazine could be if I think of it as something to be read outdoors or used as a tool, and what it could bring to urban spaces. After completing the Scripts to Read the City project, I find the question of what perspectives artistic research can bring to urban spaces very relevant. I love cities and I am interested in projects rooted in this context.

We cannot comprehend the entire city at once; it is impossible to absorb everything in a single glance. We need

separations

and

pauses

to interpret what we see.

Without these breaks, the city becomes an overwhelming stream of information, impossible to process.

Fragments Magazine aim to direct our attention, frame and bring certain aspects to the surface.

Relation to previous practice

Guide - part of Scripts to read the city

workshop - part of Scripts to read the city

Fragments Magazine will build upon the experience gained in previous semesters. Starting with the research into neighborhoods as learning environments, which I began in the second semester and drawing heavily from the last Special Issue. Fragments Magazine continues the exploration of the theme undertaken during the Scripts to Read the City project, where I tried to create a series of scripts that encourage spontaneous behavior and exploration of space. The result of the work was a device for reading the city and a guide containing scripts that encourage the discovery of opportunities we might encounter and the viewing of the city from someone else’s perspective. Additionally, as part of the project we conducted a series of workshops in which participants wrote their own scripts, and then we walked around the city according to a script written by someone else. For the magazine I utilize the exploration of the relationship between scripted and spontaneous behaviour, the tension between chance and control, and how the simple tool or a script can enhance unpredictability, stimulate imagination and encourage us to observe space with curiosity, as if we were looking from someone else's perspective. Treating this as a foundation, I want to experiment more with printed matter, forming scripts and playing with the physicality of paper, to understand how a magazine can shape the way we perceive our surroundings. This project studies how even the simplest tools, which impose certain limitations, can open us to unexpected opportunities and seeing our surroundings in a new way. It considers magazines as shared resources that help us observe, see differently, and encourage us to question reality. I want to explore the role that self-publishing and distribution might play in this context, by thinking about ways I’ll publish my project to create networks of exchange.

This summer, I attended a summer school focused on urban space as a place for various (un)learning practices, activating different modes of knowing, sensing, and being/becoming together. I met people from urban studies, researchers, and other artists interested in participatory urban interventions, and I think that these connections could also help me now, by providing constructive conversations.

performace in public space - stills from my short film

Who can help you and how?


I can definitely count on the people from De Boog—they’re also interested in print and always look for ways to do things together. I’m planning to run a workshop there, and their help will be very valuable. I think that if I go forward with an open call for the magazine, participants I met during the Viadrinicum summer school might be interested in taking part in it. I just thought of reaching out to some of them to conduct short interviews, which could accually be incredibly inspiring for finding the right approach to public space interventions in terms of ways to publish the magazine. Other than that I really need help from tutors to master web-to-print. And most importantly some emotional support from other students and friends.

What is your time table?


BLOCK 1

September, October, November

Content

• Participating in Zine festivals, leading workshop in Groningen
• Experiments with camera obscura, paper frames, photographs and collages
• Public moment

• Finalizing project proposal and research outline
• Coloqium - testing workshop format 1
• Experiment with the formats of the magazine to exist outside
• Prepare the schedule
• Research into existing magazines before I start designing
• The question what I focus on (is it image heavy, repository of tool, do I include cultural context in a written form?)

BLOCK 2

December, January, February

Content

• Assesment
• workshop 2 - De Boog
• workshop 3

Design draft

- idea for possible formats to actively exist outdoors

- practice practice practice CSS (web to print)

BLOCK 3

March, April, May

Design

- Overview of the content (break everything to see what comes page by page )

- How to print cost-effectively and how to get the most out of my format

- Material

Production

- printing

- binding

- fixing

FINAL MONTH

June

Distribution

- Activation in public space

- Documentation

- Celebration

References:

Johanathan Crary, Techniques of the Observer

Lorraine Daston and Peter Galison Objectivity, MIT, (2007)

Georges Perec, Species of Spaces and Other Pieces

Guy Debord, Report on the Construction of Situations(1957)

The Situationist International (SI) - Situationist maps, like The Naked City (1957), fragment Paris into emotional zones, challenging the conventional ways cities are navigated and understood.

Soda Kazhiro, Why I Make Documentaries, on Observational Filmmaking

Kevin Lynch, The Image of the City

Italo Calvino, Invisible Cities

Rebecca Solnit, Infinite City: A San Francisco Atlas (2010)

Jane Jacobs , The Death and Life of Great American Cities (1961) - Jacobs emphasized the importance of "eyes on the street" and mixed-use urban areas, critiquing large-scale modernist urban planning in favor of organic, community-oriented design.

Dziga Vertov – Man with a Movie Camera (1929)

Agnes Varda – Daguerreotypes (1976)

Frederick Wiseman – In Jackson Heights (2015)