User:Angeliki/Research writing

Project proposal

What do you want to make?
How do you plan to make it?
What is your timetable?
Why do you want to make it?
Who can help you and how?
Who can help you and how?
Relation to a larger context

A series of experiments interacting with the public, while researching. Walking, parallel actions. Setting up local networks of writing and reading and working with programming. Reading rooms. Deconstruct research methodologies by collaborating together in the physical space while being in the cyber. Bringing conflictuous contexts together. How the language is an error, how projects with the language become a tool for communication and interrogation as a group, collective. Collaborating and communicating/antennas hardware. Hack the available medium into each instance/context I will be involved (How the spaces are mediated and use tracking devices or software for communication)

Keep writing and prototyping. Writing abstracts mostly and use them as a first raw material to experiment with. Working with software that seems related even if it looks irrelevant, like antennas software, speech recognition, local networks, python/nltk, pirate libraries. While writing and prototyping I intend to interact with public spheres. I would like to try interact with contexts outside of my known area, like the art-initiatives in Philippines (already interacting) and Greece/Romania or local groups here and communities online.

The steps I want to follow:

Check again questions I ve done last year, topics and refs, which softwares interest me

Collect bibliography

Setting up questions

Reading- Making abstracts

Set-up a platform to document prototyping, writing, experiments in public. People can contribute to that. Comminication friction. leave a trace. Establish temporary platforms

The reason I am doing that: I want to find out alternative ways of questioning, researching. To understand what publicness means for different contexts. What make things public? The software becomes a way for me to interrogate structures of social interaction, politics, democratic speeches online or in public spaces. It helps me to understand and share easily this knowledge with others. I have though about these questions:

• How is the media sphere related to public spaces? How they do construct the space?
• What that reveals for the space (either physical or digital) and our surroundings?
• How the commons are related to that and how can be influenced by that?
• How the tools provide another perspective and way of research or communicating?
• How walking and including the presence of our body into this media occupied public space reveals hidden meanings and perspectives?
• How the art and architecture opens up to these possibilities that this technical knowledge of programming, media provides? How can this still be conceptual, poetic? How can this include the "I" and the "we"? How and why to make things public?
• Is it object, is it an endless process, is it an action?

Who could help me: XPUB gang, Clara,Roel,...

Previously I interrogated the language structure by bringing together people from different backgrounds and contexts to read, listen and write texts in a playful way that reveals layers and structures of the language. At the same time I keep being interested in how the tool becomes the output and reverse. I worked with collective writing, reading, speech recognition, collective annotation, collective reading and interacted with digital communities to construct the software. My way of working looks like an alien creature but weirdly make sense; I combine different unrelated (technically and conceptually) software with the purpose to follow the concept.

Larger context: urban tactical media, hacktivism, occupy movements, radio amateurs, text as a social space, architecture and media, radio public sphere, local to global, vernacular

Feedback: communicative language very academic

Approaching writing

I would like to keep writing abstracts, short essays. Writing texts to be merged with writing scripts and scores, until the point where the format of the text is deconstructed and proposes other ways of reading and writing the thesis. I would like to approach the text as a social space open to the public, like what we did the last trimester with reading a text in the tunnel, while walking.

Example of "blurry" writing:

"No_vowels poem"

#Takes out the vowels of a text
import sys
from sys import stdin

l=list('aeiou')
# original = input('give me the poem ')
original = stdin.read()

if len(original) > 0:
    word= original.lower()
    s=list(word)
    new_word=[]
    for i in s:
    	# or if i not in l
        if not i in l: 
           new_word.append(i)
    print (''.join(new_word))
else:
    print ('empty')

Jack tells Jill Jill tells Jack Jack wants Jill Jill wants Jack a perfect contract Jill wants Jack to want Jill to want Jacks want ofher want for his want of her want of Jacks want that Jill wants Jack to want Jill to want Jacks want of her want for his want of her to want Jack to want	jck tlls jll jll tlls jck jck wnts jll jll wnts jck prfct cntrct jll wnts jck t wnt jll t wnt jcks wnt fhr wnt fr hs wnt f hr wnt f jcks wnt tht jll wnts jck t wnt jll t wnt jcks wnt f hr wnt fr hs wnt f hr t wnt jck t wnt
From "Knots", R.D.Laing

Questions

• How is the media sphere related to public spaces? How they do construct the space?
• What that reveals for the space (either physical or digital) and our surroundings?
• How the commons are related to that and how can be influenced by that?
• How the tools provide another perspective?
• How walking and including the presence of our body into this media occupied public space reveals hidden meanings and perspectives?
• How the art and architecture opens up to these possibilities that this technical knowledge of programming, media, ... provides? How can this still be conceptual, poetic? How can this include the "I" and the "we"? How and why to make things public?
• Is it object, is it an endless process, is it an action?

Steve's questions:

• What material from the 'text on method' you wrote last trimester could be useful for the proposal? ...Abstracts, descriptions of projects in process, collective writing...
• What possibilities are open to you? ...tools, places/networks I would interact with, workshops of writing...

(make a list of whys, questions, silly or not, eternal, going closer to the core)

Concept

Perfecting the puzzle:
Being practical/mechanical/physical and at the same time conceptual/intuitive

-----the core and the surroundings-----

Being an insect having or creating antennas. Being in place and being absent. Being expert to my tools and mechanisms. The non-art Hack the media surrounding us, use them as artistic tools (antennas, locative/in-situ? installation in between spaces, digital, physical, cultural) layers of sharing parallel connection with Manila

Abstracts

Karen O`rourke. Walking and Mapping: Artists as Cartographers
The book is an approach to make a differentiated map. It is a collection of artistic practices focusing on walking. The writer combines these examples of works that he personally experienced zooming in and out the concept of walking and mapping as an artistic practice since 70s. These approaches are blurring the borders between the fields of art and others.
In the first chapter he starts by describing a contemporary walking project and then generalize the process by referring to the terms psychogeography and drifting, as explained by Debord. He describes then more walking projects till the time of 90s in which artists, and not only, are using algorithms, GPS, low-tech media technologies, political strategies, their own bodies and most importantly are interacting with the public. By walking and giving scores and instructions to themselves they reveal hidden narratives, re-claim the streets with the motivation of understanding their surroundings. Some awkwardness and playfulness characterizes these projects, that reveals the city’s underlying structure and re-appropriates the language.

References

• A Grin Without Marker [WWW Document], n.d. URL http://www.internationaleonline.org/research/decolonising_practices/59_a_grin_without_marker (accessed 8.28.18).
• Auge, M., 2009. Non-Places: An Introduction to Supermodernity, 2 edition. ed. Verso, London ; New York.
• Augoyard, J.-F., Torgue, H., 2006. Sonic Experience: A Guide to Everyday Sounds. McGill-Queen’s University Press, Montreal ; Ithaca.
• Bassett, C., n.d. ‘How Many Movements?’ [WWW Document]. Online Open. URL https://www.onlineopen.org/how-many-movements (accessed 8.18.18).
• Berger, J., 2008. Ways of Seeing, 01 edition. ed. Penguin Classics, London.
• boyd, danah, Crawford, K., 2012. CRITICAL QUESTIONS FOR BIG DATA: Provocations for a cultural, technological, and scholarly phenomenon. Information, Communication & Society 15, 662–679. https://doi.org/10.1080/1369118X.2012.678878
• Calle, S., 2012. Sophie Calle: The Address Book. Siglio, Los Angeles.
• Calle, S., Baudrillard, J., 1988. Suite Venitienne/Please Follow Me. Bay Pr, Seattle.
• Chantal Mouffe, n.d. Deliberative Democracy or Agonistic Pluralism.
• Cristiane Paul, 2014. Database, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 127–129.
• Deutsche, R., 1998. Evictions: Art and Spatial Politics, New Ed edition. ed. MIT Press, Cambridge, Mass.
• Feminist Art of Failure, Ewa Partum and the Weak Avant-Garde | Majewska | Widok. Teorie i praktyki kultury wizualnej [WWW Document], n.d. URL http://pismowidok.org/index.php/one/article/view/370/918 (accessed 8.26.18).
• Foster, H., 1998. Recodings: Art, Spectacle, Cultural Politics. The New Press, New York.
• Galloway, A.R., 2004. Protocol: How Control Exists after Decentralization. MIT Press, Cambridge, Mass.
• Habsburg, F. von, Cardiff, J., 2006. Janet Cardiff: The Walk Book, Har/Com edition. ed. Cornerhouse Publications, Köln.
• Hand, B., 1999. Public Art Indoors: Sound and Art in Public Spaces. Circa 42–43. https://doi.org/10.2307/25563399
• Kwon, M., 2004. One Place after Another: Site-Specific Art and Locational Identity, 1st edition. ed. The MIT Press, Cambridge, Mass.
• Latour, B., Weibel, P. (Eds.), 2005. Making Things Public: Atmospheres of Democracy, First edition. ed. The MIT Press, Cambridge, Mass. : Karlsruhe, Germany.
• Manovich, L., 2006. The Poetics of Augmented Space. Visual Communication - VIS COMMUN 5, 219–240. https://doi.org/10.1177/1470357206065527
• Media School [WWW Document], n.d. URL https://cargocollective.com/Media-School (accessed 8.28.18).
• New : Kajsa Dahlberg [WWW Document], n.d. URL http://www.kajsadahlberg.com/ (accessed 8.29.18).
• Noy, I., 2017. Emergency Noises: Sound Art and Gender, New edition edition. ed. Peter Lang AG, Internationaler Verlag der Wissenschaften, New York.
• O`rourke, K., 2013. Walking and Mapping: Artists as Cartographers. MIT Press, Cambridge, Massachusetts.
• Pauline Oliveros, 2011. Sonic Meditations, in: AUSTIN, L., KAHN, D., Gurusinghe, N. (Eds.), Source: Music of the Avant-Garde, 1966–1973. University of California Press, pp. 342–346.
• Phillips, P.C., 2004. In This Issue: Unsettled Imaginations. Art Journal 63, 3–3. https://doi.org/10.2307/4134500
• Phillips, P.C., 2003. Creating Democracy: A Dialogue with Krzysztof Wodiczko. Art Journal 62, 33–47. https://doi.org/10.2307/3558486
• Place, Space and Purpose [WWW Document], n.d. . Ibraaz. URL https://www.ibraaz.org/interviews/168 (accessed 8.28.18).
• Project MUSE - Introduction: Collectivism in Twentieth-Century Japanese Art with a Focus on Operational Aspects of Dantai [WWW Document], n.d. URL https://muse.jhu.edu/article/509106 (accessed 8.26.18).
• Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), 2014. The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore.
• Scott Ruston, 2014. Location- Based Narrative, in: Ryan, M.-L., Emerson, L., Robertson, B.J. (Eds.), The Johns Hopkins Guide to Digital Media. Johns Hopkins University Press, Baltimore, pp. 127–129.
• Sekula, A., 1986. The Body and the Archive. October 39, 3–64. https://doi.org/10.2307/778312
• Slouka, M., 1999. Listening for silence. Harper’s Magazine.
• Smith, N., 2005. The Politics of Public Space, 1 edition. ed. Routledge, New York.
• Susan Sontag - Monoskop [WWW Document], n.d. URL https://monoskop.org/Susan_Sontag (accessed 4.18.18).
• Tonkiss, F., 2003. Aural postcards: sound, memory and the city, in: Bull, M., Back, L. (Eds.), The Auditory Culture Reader. Berg Publishers, Oxford, pp. 303–310.
• ΤΟ ΠΟΛΙΤΙΚΟ ΣΤΗ ΣΥΓΧΡΟΝΗ ΤΕΧΝΗ, n.d.

Projects

• https://player.vimeo.com/video/12430669