Difference between revisions of "Project 1 * AND Publishing"
Revision as of 10:14, 2 August 2020
 (micro-budget books) AND operated as a kind of indy university press.AND is a collaborative publishing activity, co-founded in 2010 at Byam Shaw School of Art in North London. Without an official mandate, but supported by colleagues and occasional university research funding
Two aspects were important to AND's early practice: to institute a critical approach to publishing at the art school, that supported works of students, staff, and alumni in an equitable manner confounding the defined hierarchies and roles at the art school (student, alumni, teacher, professor, etc.) [pick me up] Publishing was understood as an experimental artistic and pedagogical tool.
 Digital print opened a multitude of possibilities to experiment with the conceptual and social boundaries of the printed book – which I discuss in more detail in the co-authored essay "The Impermanent Book" and in the chapter "Reflection theorization.Secondly, lots of energy went into experimenting with the immediacy of emerging models of print-on-demand publishing that allowed for small print runs down to one copy and did not require upfront funding.
Through different constellations of members  and having loosened the ties with the art school AND's practice shifted towards a more political practice that is invested in feminist radical pedagogy, builds informal support structures, shares a studio, provides resources and advice as well as access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes material which is difficult to find. AND works with individuals, collectives, and institutions including publishing classes, workshops, talks and education programs. Likewise, the varying members of AND are part of a diverse network of critical, feminist, de-colonial publishing activities and campaigns.
The long list of the conjunction "and" on our website indicates AND's accumulative approach. Less concerned with developing a focused brand or a unified face "AND's practice is contingent, accumulative and messy. This 10-year long accumulative approach can by definition not be reduced to a research question, instead, this very summarily description of AND serves here as a starting point, an overarching framework and context for the four artistic projects submitted for the Ph.D.
- Support included colleagues' offer to share office and equipment, including publishing classes in their courses inviting AND to develop publishing projects with students, facilitating work-based learning internships with AND. The management quickly realised the critical and socially generative potential of our activity and provided small funds and semi-official support
- Since POD does not require upfront funding since, due to digital print, the print run can be very small down to one copy. Publications can be printed when you needed them, or an order is placed. POD of course existed since the invention of the photocopy machine and AND made extensively use of the printers at the art school to produce small and handmade print runs often in connection with teaching. However, in the early 2000s, a range of commercial digital printers came up with an online interface that offered a range of sizes, bindings, paper stock, color or black&white printing to choose from for an uploaded pdf. The invention in the production line was that once a book had been virtually produced by the author, it was only printed, when it is ordered (by anyone) via a direct link or on the POD Platform's "storefront", and shipped directly to the readers address. This direct distribution model cuts out the intermediary of the publisher or the distributor. See Lulu, Blurb, the Newspaper Club (London) and many more.
- AND was co-founded in 2010 by Lynn Harris and Eva Weinmayr. Andrea Francke worked closely with AND from 2010-15 in the framework of the Piracy Project. Since 2015 AND is run by Rosalie Schweiker and Eva Weinmayr.
- OOMK, X Marks the Bökship, Keep it Complex, Migrants in Culture
- See also Gerald Raunig’s description of transversal activist practice: as ‘There is no longer any artificially produced subject of articulation; it becomes clear that every name, every linkage, every label has always already been collective and must be newly constructed over and over again. In particular, to the same extent to which transversal collectives are only to be understood as polyvocal groups, transversality is linked with a critique of representation, with a refusal to speak for others, in the name of others, with abandoning identity, with a loss of a unified face, with the subversion of the social pressure to produce faces.’ Gerald Raunig, ‘Transversal Multitudes’, Transversal 9 (2002), http://eipcp.net/transversal/0303/raunig/en