User:Kimberley/Final presentation: Difference between revisions
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|+ <div style='text-align: left; float:left; width:33%;'> ''To whom it may affect,'' </div> <div style='text-align: right; float:left; width:67%;'> Table of content </div> <br> | |+ <div style='text-align: left; float:left; width:33%;'> ''To whom it may affect,'' </div> <div style='text-align: right; float:left; width:67%;'> Table of content </div> <br> | ||
!Narration!!Addressees!!Letters!!Tools for collective editing and self-organisation!!At the show!!Beyond the show!!References | !Narration!!Addressees!!Letters!!Tools for collective editing and self-organisation!!At the show!!Beyond the show!!References | ||
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|rowspan= '4'| <div class="mw-collapsible mw-collapsed">''Somewhere on the highway, publishing'' (thesis) <div class="mw-collapsible-content"> | |rowspan= '4'| <div class="mw-collapsible mw-collapsed">''Somewhere on the highway, publishing'' (thesis) <div class="mw-collapsible-content"> | ||
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...follow-up of an interaction that occurred during an ''ice breaker'' activity on the occasion of a workshop on letter-writing at BAK. | ...follow-up of an interaction that occurred during an ''ice breaker'' activity on the occasion of a workshop on letter-writing at BAK. | ||
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* Introduction | |||
* Introduction | |||
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* ''Publisqueshions'' (published questions) | |||
* ''X-Kitchen'' | |||
* ''Foot-note'' | |||
* ''Close reading in closeness'' | |||
* ''Instructions for collective editorial'' | |||
* ''Bodily editing'' | |||
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* Heeswijk, J. "Preparing for the not-yet", in Paula Pais, A. & F. Strauss, C. (2016)''Slow Reader''. Amsterdam: Valiz pp.42—53. | |||
* Garcés, M. (2012). Honesty with the real. Journal of Aesthetics & Culture, 4(1), p.18820. doi:[[https://doi.org/10.3402/jac.v4i0.18820. link]] | |||
* Groten, A. 2022. Figuring this out together: On the relationship between design and collective practice. Ph.D. Universiteit Leiden [online] Accessible at: [http://link https://scholarlypublications.universiteitleiden.nl/handle/1887/3487176] | |||
* Hirshhorn, T. (2005) ''Anschool''. Bonnefanten museum | |||
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|<div class="mw-collapsible mw-collapsed"> Erica Gargaglione <div class="mw-collapsible-content"> | |<div class="mw-collapsible mw-collapsed"> Erica Gargaglione <div class="mw-collapsible-content"> | ||
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..."co-host" (self-proclaimed) on the occasion of the "public moments n.1 and 3" | ..."co-host" (self-proclaimed) on the occasion of the "public moments n.1 and 3" | ||
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|<div class="mw-collapsible mw-collapsed"> Carolina Castro <div class="mw-collapsible-content"> | |<div class="mw-collapsible mw-collapsed"> Carolina Castro <div class="mw-collapsible-content"> | ||
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..."contact person" during the organisation of ''Take-away'' ("public moment n.3") | ..."contact person" during the organisation of ''Take-away'' ("public moment n.3") | ||
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|<div class="mw-collapsible mw-collapsed"> Chaiyoung Kim (Chae) <div class="mw-collapsible-content"> | |<div class="mw-collapsible mw-collapsed"> Chaiyoung Kim (Chae) <div class="mw-collapsible-content"> | ||
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Revision as of 12:57, 17 June 2023
"Graduation project":
To whom it may affect, (This page is a temporary form, the design of the publication is still in process
"What follows is a corpus of four letters respectively addressed to Jeanne van Heeswijk, Erica Gargaglione, Carolina Castro and Chaiyoung Kim (Chae)—but also, to all of them at once and, ultimately, "to whom it may affect".
Each addressee is concerned with collective approaches whether their practice comprises rehearsing collectiveness, inspecting and documenting mechanics of self-organised cultural organisations, actually co-organising activities within a cultural organisation or more particularly questioning the effect of intimacy on publishing practices through experiments. At last, I would like to acknowledge all addressees for having played a consented or incidental role in the process and the publication of this epistolary chronicle.
Departing from a local issue—itself stemming from the context-specific process of a collective publication—these letters intend to give an account of recurring conflicts relating to collective processes.
The publishing of private missives both represents an invitation and a record of the relations involved in a process that is challenging to document or that may be overridden by its design. These series of epistles are punctuated with a collection of methods to practice collectiveness in publishing contexts. In turn, the suggested methods may be enacted and adapted to any collectivity."
Previous experiments at XPUB:
Annotating | ||||
CCTV
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Collective editing tools | Restaging reality | Acknowledgment | |
Annotation compass
Cloverleaf
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52.948.000 tales
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Audience's agency | Space and surrounding | |
Common narration to host multiple voices | Price tag SI17
AccAcc
Public moment #1
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X-Kitchen
SI18, "Uneven pattern"
SI18, "SIX"
...where an ordinary private setting was turned into a stage, hosting and broadcasting a program.
1. 2. gesture: (dis)placed in an empty room, the familiar arrangement becomes a stage (reenactment)— awareness prompted by the mic, the script and other recording materials. Repurpose an old setting, turning a private space into a space of publication.
F.N.P
Miller's Hollow
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Retrospective narration as a tool to document a situation | |||
Interdependencies introduction assignment
"Somewhere on the highway, publishing" (thesis)
"To whom it may affect" (project)
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Narration | Addressees | Letters | Tools for collective editing and self-organisation | At the show | Beyond the show | References |
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Somewhere on the highway, publishing (thesis)
This part recounts the process and outcome of a publishing event collectively organised to present the work in progress of 11 graduating student at XPUB (class of 2023) |
Jeanne van Heeswijk
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Erica Gargaglione
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Carolina Castro
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Chaiyoung Kim (Chae)
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