http://wiki.evaweinmayr.com/api.php?action=feedcontributions&user=Ccl&feedformat=atomEva Weinmayr Wiki - User contributions [en]2024-03-28T11:06:03ZUser contributionsMediaWiki 1.31.1http://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=85704 Summary of projects and submitted material2020-08-18T10:26:54Z<p>Ccl: </p>
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<div>=Intro=<br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry. It consists of a string of related practical experiments I carried out during my artistic career between 1998 and 2020. These practices attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. And they experiment with developing different models that facilitate an emancipatory, intersectional, de-colonial feminist knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the topic. <br />
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One characteristic of these experiments is that most of them are collaborations. They often developed as responses to specific problems. These greatly differing instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category and loosened definition of knowledge practices. <br />
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A pivotal common approach of these experiments is that they don't intend to make works "about politics". Instead, they aim at finding operational models to work counter-politically – through the actual practice itself. Hence my artistic concern is not to illustrate a political position, but to actively engage in political experiments in publishing and ecologies of knowledge.<br />
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The projects discussed below fall in a wide range of contexts. What they have in common though is that they can all be seen in relation to institutions – with some being commissioned by institutions, others being situated in institutions (with and without an official mandate), and yet a third group operates "exstitutional", a term coined by Constant, Brussels, indicating a transversal collective working environment that is often inoperable within mainstream institutions. Lastly, most of these experiments are projected long-term. They develop over time to test out various agile approaches. If one approach is not working, it is adapted and applied again from a different angle. That is the reason why the following list is so comprehensive.<br />
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I have structured them in section 2 "Projects". These are the longterm collaborative practices. They are followed by section 3 "Published (Fixed)" listing essays, book chapters, pamphlets, papers that I have published or co-published. Section 4 gives an overview of event-based activities (teaching, workshops, presentations, discussions, think-ins ) that I named 4 "Discursive (Unfixed)".<br />
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=Projects overview=<br />
In the following, I give a brief summary over the five practice projects that each is described in more detail on the individual project pages.<br />
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== AND Publishing – with Rosalie Schweiker and multiple collaborators <br/>(2009 – ongoing)==<br />
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{{Interlink|AND Publishing|see project 1: AND Publishing}}<br />
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[[File:AND_Publishing_webpage.png|400px|link=http://wiki.evaweinmayr.com/index.php/AND_Publishing|thumb|left|AND Publishing webpage]]<br />
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AND is a collaborative publishing activity based in London. Initiated in 2009, it seeks to develop infrastructures of publishing starting from three questions: Why publish, how, and for whom? Observing that the existing institutional infrastructures keep replicating the exclusionary mechanisms and hierarchies dominating the university, AND started, without mandate <ref name= "support"/>, at Byam Shaw School of Art in London as an indy-university press, publishing works of students, staff and alumni in an equitable and non-hierarchical manner.<ref name= "ANDnames"/> Next to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also explores the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, builds informal support structures by sharing a studio, providing 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. The members of AND are part of a diverse network of critical, feminist, de-colonial publishing activities and campaigns.<ref name=" networks"/>AND's 10-year long practice forms the basis and context for the artistic projects submitted for the PhD.<br />
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==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Library of Inclusions and Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Library_of_Inclusions_and_Omissions|thumb|left|Library of Omissions and Inclusions]]<br />
The Library of Inclusions and Omissions (LIO) is a practice-based experiment in critical knowledge infrastructures. Through an open call for contribution, it sets up a reference library that is curated by the community using it. So far, roughly 100 contributions are on the shelf. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, postcolonial materials which are not, or only sparsely available in institutional collections or databases, too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. Can such a curatorial concept help to give voice to undiscovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? <br/> <br />
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==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|The Piracy Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|link=The Piracy Project|thumb|left|Street vendor, Lima Peru, 2010 Photo: Andrea Franke]]<br />
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The Piracy Project started in collaboration with artist Andrea Francke as a reaction to the imminent closure of Byam Shaw School of Art Library in London. Through an open call for pirated books to populate the self-governed art school library and through researching pirate book markets in Peru, China, and Turkey, The Piracy Project gathered a collection of around 150 copied, emulated, appropriated and modified books from across the world. Their copying approaches vary widely, from playful strategies of reproduction, modification, and reinterpretation of existing works to circumventing enclosures such as censorship or market monopolies, to acts of piracy generated by commercial interests. This collection of books serves as the starting point to explore the common understanding of authorship, originality, and the implications policy and legal developments have had on intellectual property and copyright. Through temporary reading rooms, workshops, lectures, discussions, and debates, The Piracy Project explores the philosophical, legal, and social implications of cultural piracy and creative modes of dissemination. <br/><br />
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==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, Valand Academy, University of Gothenburg <br/>(2015–2016)== <br />
{{Interlink|Let's Mobilise: What is Feminist Pedagogy?|see project 4: Let's Mobilize: What is Feminist Pedagogy?}}<br />
[[File: Let's mobilize Valand Academy Forum 8c.jpg |400px| link=Let's Mobilise: What is Feminist Pedagogy?|thumb|left| Let's Mobilize: What is Feminist Pedagogy?, Valand Academy 14-16 Oct 2016]]<br />
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'Let's Mobilize: What is Feminist Pedagogy?' is a long-term collective investigation into intersectional, feminist and de-colonial pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The workgroup was set up by the desire to articulate and create a space for a queer and feminist perspective on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr). Its aim was twofold: Firstly, to provide a space to discuss the highs and lows in our own learning and teaching. To study and review university policies and institutional habits. To jointly read relevant texts and set up an online shadow library on feminist intersectional de-colonial pedagogies. This happened in bi-weekly lunchtime meetings that were open to the whole academy. <br />
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Secondly, we worked towards organizing an international conference (mobilization) that fundamentally rethinks how knowledge is produced, transmitted, and disseminated. We were keen to find strategies to adjust the Euro-centric canon and its exclusions, to question institutional habits and procedures, and to create an understanding of equality that is not blind to difference. The mobilization itself was a practice-based investigation experimenting with non-normative use of the classroom, time and temporalities, languages, and paying attention to the empirical body. <br />
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==Boxing and Unboxing, Research Residency, MarabouParken Konsthall, Stockholm – with Rosalie Schweiker <br/> (April – August 2018)==<br />
{{Interlink|Boxing and Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster-2018-01.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Boxing_and_Unboxing|thumb|left|Unboxing, AND Research Residency, MarabouParken Konsthall, Stockholm April–August 2018]]<br />
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During the five-months research residency at MarabouParken in Stockholm AND Publishing organized together with curator Jenny Richards boxing training for self-defining women, installed an "Unboxing Room" with the boxes of materials they brought from their UK based practice and held three public talks.<br />
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MarabouParken Konsthall's evolving strand of research residencies aims to collaborate with artists groups and collectives to support their practice by developing "new lines of inquiry over three months and share these with others through workshop and events.<ref name= "email"/> The overarching strand called "Acts of Self-ruin" was based on Leela Gandhi's book "The Common Cause" inviting collectives to explore the struggle for collectivity and equality in an age of individualism.<ref name= "Mwebsite"/> <br />
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='''Published (Fixed)'''=<br />
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== Against Immunisation: Boxing as a Technique for Commoning (exhibition, score), in ''Open Scores - How to program the Commons'', Panke Gallery, Berlin, 21 September – 12 October 2019==<br />
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[[File:Eva Weinmayr Open Scores Poster.jpg|thumb|left|100px|link=]]<br />
With this score "Against Immunisation: Boxing as a Technique for Commoning," I propose to rethink the concept of the commons in a counterintuitive fashion. If we conceived of boxing not as a concept of masculinity and violence or the survival of the fittest, but as a moment of intense negotiation of border space, contagion, and border linking, then it might serve as a technique to unlearn the building blocks of possessive individualism and the figure of the "proper."<br />
Boxing is a moment of "border swerving, border linking and border-spacing" (Ettinger), rendering permeable the borderlines of our "proper" subjects. As a nonverbal, bodily dialogue, it transgresses the very borderlines that we elsewhere seek to protect. During sparring, I deliberately forgo this established immunity – my contours become vulnerable through the mutuality of the touch: My fist touches and is being touched at the same time.<br />
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In the exhibition [https://www.panke.gallery/exhibition/open-scores/ ''Open Scores - How to program the Commons''], curated by [http://creatingcommons.zhdk.ch/ ''Creating Commons''] (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)<br/><br />
With Dušan Barok (monoskop.org), Marcell Mars & Tomislav Medak (memoryoftheworld.org), Sebastian Lütgert & Jan Gerber (0xdb.org), Sean Dockray (aaaaarg.fail), Ruth Catlow & Marc Garrett (furtherfield.org), Constant (Michael Murtaugh, Femke Snelting & Peter Westenberg), Laurence Rassel (erg.be), Stefanie Wuschitz (Mz* Baltazar’s Lab), Panayotis Antoniadis (nethood.org), Mario Purakthofer (www.dock18.ch), Alessandro Ludovico (neural.it), Eva Weinmayr (andpublishing.org), Kenneth Goldsmith (ubu.com), Zeljko Blace (#QUEERingNETWORKing), Sakrowski (curatingyoutube.net), Spideralex, Tactical Tech, Creating Commons, Alison Knowles.<br/><br/><br />
[http://wiki.evaweinmayr.com/images/a/a5/OPEN_SCORES-Catalogue_lowres.pdf →Download Exhibition Catalog][[File:Pdf.jpg|20px|link=]]<br/><br />
→[[Pages from Boxing and Unboxing Calendar, AND Publishing, 2018]]<br />
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== Micropolitics of Publishing (video interview), 15 September 2018==<br />
[[File:Eva Weinmayr Cornelia Sollfranck Creating Commons interview.jpg|thumb|left|100px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
Cornelia Sollfranck in conversation with Eva Weinmayr. Interview in the context of the research project [http://creatingcommons.zhdk.ch Creating Commons] at the Institute for Contemporary Art Research, Zurich University of the Arts, conducted in cooperation with HeK (House of Electronic Arts Basel) by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger (2017 – 2020).<br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ &#x1F50A; Watch interview]<br />
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==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
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This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) all trying to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship that is grounded in possessive individualism creates considerable blockages for critical art, education, and collective practice. <br />
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Trying to politicize individual authorship and to escape its construction through legal, economic, and institutional frameworks, I discuss how this chapter would circulate in current systems of dissemination, validation, and authorization if I did not assign my name to it - if it went un-authored so to speak. From a de-colonial feminist perspective, however, authorship is important. It marks the positionality of the speaking subject and accounts for the –often unacknowledged – eurocentrism of Western philosophy (Gayatry Spivak). <br />
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In [https://www.openbookpublishers.com/product/925" Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity"], edited by Janis Jefferies and Sarah Kember, Cambridge: Open Book Publishers, 2019<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/e/ef/Eva_Weinmayr_Confronting_Authorship-Constructing_Practices-Whose_book_is_it_anyway.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==More Verb, Less Noun - Publishing as Collective Practice (printed interview)==<br />
in conversation with Jinglun Zhu <br />
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in "The Netletter," Centre for Curatorial Studies CCS Bard, Annandale/N.Y, 2019<br />
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==One publishes to find comrades (book chapter)==<br />
[[File:Eva_Weinmayr%E2%80%93One_publishes_to_find_comrades.jpg|left|thumb|100px|link=http://evaweinmayr.com/wp-content/uploads/Eva-Weinmayr%E2%80%93One-publishes-to-find-comrades.pdf]]The text investigates how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product trying to convince someone of something, but rather a method for 'working towards establishing conditions for the co-production of meaning.' <ref>Stevphen Shukaitis, 'Toward an Insurrection of the Published? Ten Thoughts on Ticks & Comrades', ''eicp transversal'', June 2014 [https://transversal.at/transversal/0614/shukaitis/en#_ftnref1]</ref><br />
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In [https://mitpress.mit.edu/books/publishing-manifestos''Publishing Manifestos''], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. Originally published in [http://spectorbooks.com/the-visual-event''The Visual Event, an education in appearances''], edited by Oliver Klimpel, Leipzig, Spector Books, 2014 <br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Eva-Weinmayr%E2%80%93One-publishes-to-find-comrades.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Kunstforum interview 2018.jpg|left|thumb|100px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
Annette Gilbert, in conversation with Rosalie Schweiker and Eva Weinmayr (AND Publishing, London) about AND's collective feminist publishing practice that understands publication as a verb (a social process) rather than a noun (the finished object). Annette, Rosalie, and Eva discuss the multiple roles AND publishing takes on (artist, researcher, educator, curator, collector, librarian, host, organizer, and activist) and reflect on the dilemmas, contradictions and joy such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
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In [http://www.kunstforum.de/artikel/eva-weinmayr-und-rosalie-schweiker ''Publish! Publizieren als künstlerische Praxis'', Kunstforum International], issue 256, September 2018 (German language).<br/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==Rethinking where the thinking happens (public interview)==<br />
[[File:Published interview Sarah Kember Rethinking where the thinking happens – and-1.jpg|left|thumb|100px|link=]]<br />
Public conversation between Eva Weinmayr and Sara Kember, co-founder and director of Goldsmiths Press, London. In this conversation.... xxx<br />
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Published online, London AND Publishing [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/] and in print: Let's Mobilize: What is Feminist Pedagogy?, edited by Feminist Pedagogy Working Group (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), Valand Academy, Gothenburg, 2016.<br />
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== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne3.png|left|thumb|100px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
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This presentation in the panel "Publishing to Mobilize Knowledge" asks about the relationship between practices of production, circulation, and consumption of radical, critical, artistic publishing. What are the institutional infrastructures and routines (libraries, archives, bookstores, etc.) of naming and framing, of selecting and cataloging, and how do these routines institutionalize, privilege, or exclude knowledges that don't fit into the established categories. <br />
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This presentation was an occasion to experiment with citational practice and sharing bibliographies in a live situation: Using Twitter to live-publish the hyperlinks to references, such as films, images and texts I published my presentation slides live for the audience to revisit on Twitter.<br />
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At [https://www.khm.de/ipaap/" Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, 6 July 2018. Panel: "Publishing to Mobilize Knowledge" with Clara Balaguer, Yvette Mutumba, Eva Weinmayr. Organized by Agustina Andreoletti, Lilian Haberer, Karin Lingnau, Konstantin Butz.<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 Read Twitter thread]<br />
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==Dear Hannah (pamphlet)==<br />
[[File:LIO-Eva Weinmayr pamphlet 'Dear Hanna' Venice Biennale.jpg|thumb|left|100px|link=]]<br />
This short text is written in epistolary form. It reflects on issues of co-option, on collective and community-based work, on artistic ambition, and the limits of what is exhibitable in the context of an international art biennale. The text has been circulated as an email letter and printed pamphlet. <br/><br />
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Published on the occasion of [https://www.artandeducation.net/announcements/133094/research-pavilion-the-utopia-of-access ''The Utopia of Access''], exhibition, Pavilion of Artistic Research, 57th Venice Biennale 2017<br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pdf]][[File:Pdf.jpg|20px|link=]]<br />
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==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Eva Weinmayr Library Underground Sternberg Press.png|thumb|left|100px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
This chapter, written in the form of a dialogue, presents an informal conversation between Eva Weinmayr and her inner voice about artistic and critical practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from informal distribution strategies like the Whole Earth Catalog to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary activist librarian practices (aaaaarg, Memory of the World, The Piracy Project). Common concerns about the function and value of public libraries and access to knowledge "for every member of the community" (ALA, Library Bill of Rights 1939) seem to crop up throughout the conversation: Who is a library for?; What kind of materials and topics are missing and the implicit biases in the organization and classification of knowledge? <br/><br/><br/><br />
In [http://www.sternberg-press.com/?pageId=1640''Publishing as Artistic Practice''], edited by Annette Gilbert, Berlin/New York: Sternberg, 2016 <br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
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==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground-welcome to my tent-film still.jpg|left|thumb|100px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
The text has been performed from inside a trekking tent installed at Valand's main lecture hall with a video camera transmitting what happens inside the tent onto the lecture hall screen. With Eva Weinmayr as Eva Weinmayr and Rose Borthwick as Inner Voice. Filmed and edited by Camilla Topuntoli. Video 32 min. <br /><br />
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At the symposium "Photography in Print and Circulation," convened by Louise Wolthers, Niclas Östlind, Hasselblad Foundation/Valand Academy, University of Gothenburg, 2016<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
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== We don't want this to become an exhibit (book chapter)==<br />
This chapter is a revised manuscript of my presentation in the seminar "Socialising Archives" during the symposium "Archives of the Commons II – The Anomic Archive", at Museo Nacional Reina Sofia in Madrid, 2018. Chaired by Mabel Tapia, in this presentation I reflect on the tactics (and their complications) to use the pirated books in the Piracy Project Collection as a starting point for learning and critical reflection (workshops), and policy debate (discussions and debates). Participants in the seminar shared strategies and experiences of practices that turn an archive from a repository into a space of social, intellectual and political encounter. <br />
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The chapter is published in the book "Archivos del Común II: El Archivo Anómico," (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Red Conceptualismos del Sur, 2019. →[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/b/b5/Eva_Weinmayr_Piracy_Project_archives_of_the_commons_text_with_slides_and_captions_draft_August.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
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== Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating, co-edited with Andrea Francke (book)==<br />
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[[File:Piracy Project Reader–lowres.jpg|thumb|left|100px|link=]]<br />
The title of this publication lists the vocabulary that has become relevant while working on the Piracy Project. The terms describe the range of relationships to somebody else's work and will be explored in the book through essays from different fields of knowledge. <br />
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The first version included a range of essays, while other chapters were still to be written and terms to be explored. It was an attempt to use the publication to initiate thinking and have the thinking feeding back into the book. This approach was supported by the funding model. People bought shares in one essay (exploring one of the terms) they wanted to be written and thus financed the payment of an author fee.<br />
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As such the book is an ongoing and open-ended reader, which develops over time. "This book is not finished. It is the start of a dialogue that will grow as we go along. Normally when you publish a book, it aims to be a resolved object, an endpoint of a process. Not this one. The thing is that there are two of us, and that has become one of the key determinants of how the project evolves. There are always two voices, and that allows us always to be open to different positions. I guess that's what I call a dialogue." (Excerpt from the introduction to the book).<br />
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So far, the book contains essays and contributions by Dave Hickey, Eva Hemmungs-Wirtén, Joanne McNeil, Karen Di Franco, Lionel Bently, Prodromos Tsiavos, Sergio Munoz Sarmiento and awaits prospective essays by James Bridle, Stephen Wright and 16 others. Courtroom drawings are by Stephanie Thandiwe Johnstone.<br/><br />
25 x 21 cm, 140 pages, digital print. <br/>Published, designed and produced by AND Publishing, 2014<br />
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→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project impermanent book2 Rhizome.png |thumb|left|100px|link=]] <br />
The essay discusses the desire for authoritative and stable book objects. It argues that the technical advances of industrial and commercial printing construct our contemporary idea of books as fixed and immutable objects. The emergence of digital print and print-on-demand, however, changes this perception, since they allow for continuous changes, adaptions, and revisions. The text discusses the assumed unease and fundamental challenge this kind of versioning exerts on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other? <br />
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In [http://rhizome.org/editorial/2012/apr/19/impermanent-book/''Rhizome.org''], 2012 and in ''Best of Rhizome 2012'', edited by Joanne McNeil, Brescia: LINK Editions, 2013 <br/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
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==Outside the Page, Making Social Realities With Books (chapter)==<br />
[More and better description needed...]<br />
This chapter discusses how the format of the publication determines its dissemination and related the modes of reading. The text contrasts Marcel Broodthaers' two-piece work 'Voyage on the North Sea' (1974) with the distribution of poster-size pages of 'Let's Mobilize: What is Feminist Pedagogy Workbook' across the building of Valand Academy. <br />
<br />
In ''The Filmic Page'', "On Curating" ZHdK Zürich, forthcoming issue <br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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=="Let's Mobilize" Revisited (draft chapter)==<br />
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[[File:Chapter Lets Mobilize Revisited-Valand Academy Femped working group.jpg|thumb|left|100px|link=]] <br />
This experimental text was co-written by the Feminist Mobilization Working Group. It revisits a text by the same authors, published two years earlier, the "Glossary" in the "Let's Mobilize Workbook". The act of revisiting the original text allowed us to reflect with hindsight on the three-day event and the process of working together. By using the method of layered commenting, we preserved each author's voice instead of streamlining the writing into one voice. Here the collective writing of a text becomes a place for dialogue and disagreements. It builds on experiments of nonlinear writing done by Arno Schmidt ('Zettel's Dream', 1970) and Pierre Bayle ('Historical and Critical Dictionary', 1737).<br />
<br />
In ''Decolonialism after the educational turn'', Valand Academy, University of Gothenburg, forthcoming<br/><br />
→[http://wiki.evaweinmayr.com/images/8/83/Draft_chapter-Let%27s_Mobilize_Revisited_Borthwick_Coble_Engman_Weinmayr_writing_dialog.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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==Help! David Cameron Likes my Art (book chapter)==<br />
File:Distributed Open Editions, London 2018 .jpg<br />
[[File:Distributed Open Editions, London 2018 .jpg|thumb|left|100px|link=]] <br />
The text narrates the course of events and agonies brought about by the UK Government Art Collection's acquisition of my artwork "Today's Question" and its subsequent loan to Samantha and David Cameron, then Prime Minister of the UK, for their private residence at Downing Street.<br />
<br />
In [http://www.openeditions.com/index.php/distributed.html''Distributed''], edited by David Blamey and Brad Haylock, London: Open Editions, 2018<br/><br />
→[http://wiki.evaweinmayr.com/images/a/a5/Published_chapter-preprint_version_Help%21_David_Cameron_likes_my_art_-_Distributed-Open_editions_2018.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
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== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern, 16-17 January 2020==<br />
<br />
The concept of the library seems to have gained much attention recently. On the one hand, we keep hearing about public library closures across the continent, on the other, we witness much energy and activism in the development and sustenance of shadow libraries, whether physical or online. After all, libraries are spaces that turn marketable goods into public goods. They provide free access to knowledge that would otherwise have to be purchased. However, libraries arguably are also disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and secondly how this material is framed and represented in the catalog, which as I will claim, constitutes itself a meaning-making structure. As library scholar Emily Drabinski points out, classification schemes «are socially produced and embedded structures, they are products of human labor that carry traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them. It is not possible to do classification objectively. It is the nature of subject analysis to be subjective». Using the Library of Inclusions and Omissions as a starting point I will discuss the political nature of cataloging and indexing and its implicit dilemma since each standard and category valorizes some point of view and silences another.<br />
<br />
The exhibition “Wir publizieren” is a collaborative project of the School of Art and Design at the Bern University of the Arts HKB in Switzerland, and of the Art and Design Department at the University of the Arts Bremen in Germany. At the intersection of literature, art, design, technology, law, politics and economics there is a mixture of practices, processes and institutions in which the little-researched phenomenon of independent publishing takes place.” (Gilbert 2019) The one and a half-day conference “We discuss” aims to discuss this phenomenon with the help of lectures, discussions and interventions. We ask ourselves the following questions: How can the interest in self-organized publishing as a political and social practice, and the resulting artifacts, be justified? How can these mostly complex and collective processes be archived and made accessible? What are the requirements for our behavior today? And how can these be conveyed? The conference is taking place as part of the exhibition “We publish - editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, 20 December 2019 - 2 February 2020). <br />
Contributions by Annette Gilbert, Jan-Frederik Bandel, Rolf Lindner, Anja Schwanhäußer, Andreas Vogel, Eva Weinmayr, Tine Melzer, Urs Lehni, Olivier Lebrun. Convened by Lucie Kolb, Tania Prill, Robert Lzicar.<br />
<br />
The exhibition “Wir publizieren” is a collaborative project of the School of Art and Design at the Bern University of the Arts HKB in Switzerland, and of the Art and Design Department at the University of the Arts Bremen in Germany. <br />
<br />
http://www.wir-publizieren.ch/en/<br />
https://vimeo.com/387433989<br />
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==[https://www.panke.gallery/event/open-scores-moments-autonomy/ Moments of Autonomy. Feminist educational practices for the digital commons] (think-in)<br/> at ''Open Scores - How to program the Commons'', convened by [http://creatingcommons.zhdk.ch/ ''Creating Commons''], Panke Gallery, Berlin, 12 October 2019==<br />
<br />
What concepts of knowledge inform our techno-feminist thinking and practice? How much do we have to know to be able to take an emancipated position? What is the role of affect in our daily handling of technology? To what extent can the principles of open-source culture be an inspiration for educational projects? What do we need to build communality in and for the techno-feminist struggle? (local/global)? What are methods to transform what has been learned into a collective agency and empowering strategies for desired change?<br/><br />
<br />
We will spend one day together in Berlin to exchange experiences, compare methodologies, develop strategies, inspire each other, and think about taking the next steps together… maybe in the form of a manifesto, a curriculum, a book, a conference, a research project… We will see what is most suitable and also feasible. Participants: Andrea Hubin (Kunsthalle Wien), Shusha Niederberger (Haus für Elektronische Künste, Basel), Peggy Pierrot (erg, Brussels), Daphne Dragona (Transmediale, Berlin), Safa Ghnaim (tactical tech, Berlin), Stefanie Wuschitz (Mz* Baltazar's Laboratory, Vienna), Magda Tyzlik-Carver, Janine Sack, Marie Dietze, Eva Weinmayr (AND, Let's Mobilize, Teaching to Transgress Toolbox, London/ Göteborg).<br />
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==Situated Collective Authorship (propositive input)<br/>at [http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html ''Authors of The Future: Re-imagining Copyleft'' Studyday],<br/> Constant, Brussels hosted by ISELP (Institut Supérieur pour l’Étude du Langage Plastique) Brussels, 27 September 2019==<br />
<br />
Conventional intellectual property law binds authors and their contemporary hybrid practices in a framework of assumed ownership and individualism. It conceives creations as original works, making collective, networked practices difficult to fit. Within that legal and ideological framework, Copyleft, Open Content Licenses, or Free Culture Licensing introduced a different view of authorship, opening up the possibility for a re-imagining of authorship as a collective, feminist, webbed practice. But over time, some of the initial spark and potentiality of Free Culture licensing has been normalized, and its problems and omissions have become increasingly apparent. This study day is therefore meant to see if we can start re-imagining copyleft together.<br />
<br />
Can we invent licenses that are based on collective creative practices, in which cooperation between the machine and biological authors, need not be an exception? How could attribution be a form of situated genealogy, rather than accounting for heritage through listing names of contributing individuals? In what way can we limit predatory practices without blocking the generative potential of Free Culture? What would a decolonial and feminist license look like, and in what way could we propose entangled notions of authorship? Or perhaps we should think of very different strategies?<br />
<br />
<br />
Severine Dusollier (SciencesPo, Paris): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/2_Severine_Dusollier_Inclusive_Copyright.html ''Inclusive Copyright'' &#x1F508;]<br/><br />
Aymeric Mansoux (XPUB, Rotterdam): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/5_Aymeric_Mansoux_Free_Only_if.html ''Free Only-if'' &#x1F508;]<br/><br />
Eva Weinmayr (Piracy Project/And Publishing, London): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/4_Eva_Weinmayr_Situated_collective_authorship.html ''Situated Collective Authorship'' &#x1F50A;]<br/><br />
Daniel Blanga Gubbay (KFDA, Brussels): [http://constantvzw.org/w/?u=http://sound.constantvzw.org/Authors-of-the-future/recordings/ ''Potential Authorship'' &#x1F50A;]<br/><br />
<br />
[http://constantvzw.org/w/?u=https://pad.constantvzw.org/p/authorsofthefuture.participants Participants], [http://constantvzw.org/w/?u=http://sound.constantvzw.org/Authors-of-the-future/materials/ Materials], [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings Recordings], [http://constantvzw.org/w/?u=https://pad.constantvzw.org/p/authorsofthefuture.notesnotes], [http://constantvzw.org/w/?u=https://gallery.constantvzw.org/index.php/authors_of_the_future Images of the day]<br />
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== Library Talks, Rietveld Academy Amsterdam, 24 September 2019 ==<br />
<br />
For this public talk in the monthly series "Library Talks" at Rietveld Academy in Amsterdam I chose 10 publications with interesting examples of colophones, in order to reflect on the common understanding and attribution of authorship and to investigate and rethink which roles and inputs in the collective production of a publication are acknowledged and credited. <br />
<br />
Gerrit Rietveld Academy / Sandberg Institute holds a monthly series of Library Talks. During each talk an invited speaker introduces a list of maximum ten books to the audience that have been important to their practice, and that will be acquired for the occasion by the library. The idea is that the speakers can introduce how their practice has been constructed by the selected books and which different voices their practice consists of.<br />
<br />
The selection of books introduces different ways of reading our library collection: through the catalogue system and a custom made library card the library users can trace back these personal selections within the library.<br />
<br />
<br />
The invitation: "During each Library Talk, a speaker introduces a list of a maximum of ten books to the audience that have been important to their practice, and that will be acquired for the occasion by our library. The only rule within the selection is that none of the books can be authored by the speakers themselves. We hope that the speaker can introduce how their practice has been constructed and which different voices it consists of."<br />
<br />
The selection of books also introduces different ways of reading our library collection: through the catalog system and a custom made library card, the library users can trace back these personal selections within the library."<br />
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==[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law Interfacing the Law] (workshop) <br/> Constant Brussels & XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres, Rietveld Library (Amsterdam) 9-10 May 2019==<br />
<br />
Pirate libraries, shadow libraries, piratical text collections, amateur digital libraries, peer-produced libraries, and how to read them together. The study days are based on [http://constantvzw.org/w/?u=https://pzwiki.wdka.nl/mediadesign/Interfacing_the_law Femke Snelting's letter] to the participants in which she explains her discomfort of having signed the Custodians Online [http://custodians.online/ 'In solidarity with Library Genesis and SciHub' letter] back in 2015. She writes:<br />
<br />
: "The disobedient stance of piracy can obscure the way it keeps categories of knowledge in place, either by calling upon universalist sentiments for the right to access, by relying on conventional modes of care or by avoiding the complicated subject of the law altogether. If we want to find ways to make the public debate on shadow libraries transcend the juridical binary of illegal versus legal, and claim political legitimacy for acting out their potential, we need to experiment with how these libraries are a form of publishing, how they rethink the social contracts that link libraries, librarians, readers, and books. And that is what we'll try to do in Interfacing the law.<br />
:Extra-legal publishing, bibliothèques sauvage, piratical text collections, popular resource sharing methods, peer-acy, amateur digital libraries, bibliogifting, uneasy sharing, peer-produced libraries … the growing collection of euphemisms for pirate libraries points at the vibrancy of these practices that are literally unbound from institutional, legal and even conventional material constraints.<br />
:Always paradoxical or even incoherent, they interface each in their own way with legal and political frameworks. How can these practices get us closer to the kind of libraries we require?"<br />
<br />
<br />
9 May 2019<br/> <br />
Visit Rietveld Academy Amsterdam to learn from Martino Morandi & Anita Burato about the project [http://catalogue.rietveldacademie.nl/about.html "Infrastructural Manœuvres in the Library"]. Participants: XPUB1 students (Piet Zwart Institute, Rotterdam), Ann Mertens (Constant Brussels), Martino Morandi & Anita Burati (Infrastructural Manœuvres, Rietveld Library), Lieven Lahaye (Rietveld Library), Eva Weinmayr (The Piracy Project/AND Publishing London). [https://pad.constantvzw.org/p/rietveld_library See collective notes]<br />
<br />
10 May 2019<br/> <br />
Workshop on "Pirate libraries, shadow libraries, piratical text collections, amateur digital libraries, peer-produced libraries and how to read them together." Participants: Femke Snelting (Constant, Brussels), XPUB1 students (Piet Zwart Institute, Rotterdam), Eva Weinmayr (The Piracy Project/AND Publishing London).<br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes] <br />
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==Experimental Publishing #1, Critique, Intervention, Speculation (symposium) <br/> at ''Centre for Postdigital Cultures, Postoffice'', Coventry University, 11 April 2019 ==<br />
Panel with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
Experimental publishing can be positioned as an intervention, a mode of critique, and a tool of speculation. It is a way of thinking about writing and publishing today that has at its center a commitment to questioning and breaking down distinctions between practice and theory, criticality and creativity, and between the scholarly and the artistic. This series explores contemporary approaches to experimental publishing as:<br />
*an ongoing critique of our current publishing systems and practices, deconstructing existing hegemonies and questioning the fixtures in publishing to which we have grown accustomed—from the book as a stable object to single authorship and copyright.<br />
*an affirmative practice that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments.<br />
*a speculative practice that makes possible an exploration of different futures for writing and research, and the emergence of new, potentially more inclusive forms, genres, and spaces of publishing, open to ambivalence and failure.<br />
This take on experimentation can be understood as a heterogeneous, unpredictable, and uncontained process. It leaves the critical potentiality of the book as a medium open to new intellectual, political, and economic contingencies.<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Postoffice]<br />
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==Tools and Infrastructures, ''Creating Commons'' (research meeting)<br/> at HeK, House of Electronic Arts, Basel 13.-16. September 2018==<br />
<br />
The research project Creating Commons explores interstitial practices that open the space between art and commons. It studies practices that challenge established notions of contemporary aesthetic practice as well as of contemporary commons. The research aims to develop a new theoretical and aesthetic framework for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects. <br />
<br />
For this research meeting, a group of artists, activists, designers, theorists, and researchers gathered to discuss the dynamics and role of infrastructures and tools. The framing questions for the research are: (i) how can new forms of organization and collaboration bring forth different kinds of cultural works and social relations? (ii) how are new property relations articulated? (iii) how can artistic practices contribute to the further development of the commons as inclusive, diverse, and democratic forms of organization? (iv) what role can art and an expanded understanding of aesthetics play in the advancement of the commons as a political project?<br />
<br />
The research project is located at the Institute for Contemporary Art Research, Zurich University of the Arts, conducted in cooperation with HeK (House of Electronic Arts Basel) and conducted by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger (2017 – 2020).<br/><br />
→[http://creatingcommons.zhdk.ch Creating Commons, Tools and Infrastructures]<br />
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==Writer X, with Eleanor Vonne Brown (workshop) <br/> at ''X Publishing School'', Whitechapel Art Gallery London, 8 Sept 2018 ==<br />
A collaborative writing experiment with Eva Weinmayr and Eleanor Vonne Brown using an online text editor to write a live script from the London Art Book Fair creating imaginative fictional co-authored and situated narration. Prompt: "A well known public figure is circumnavigating the London Art Book Fair disguised as a librarian, a dementor, or a stray dog. Writers are situated throughout the fair and its threshold, observing and collectively creating and reworking a rolling commentary with each other on possible sightings." <br />
<br />
For the London Art Book Fair 2018, founder of bookshop and art space X Marks the Bökship Eleanor Vonne Brown has collaborated with the Gallery to curate a series of events reimagining Whitechapel Gallery as the X Publishing School. Divided across five spaces, a lecture hall, a common room, assembly hall, library and a playground, the School takes Robert Filliou's Teaching and Learning as Performing Arts, Koenig, 1970, (Reprinted, Occasional Papers, 2014) as its curriculum. Filliou writes: 'The purpose of this study is to show how some of the problems inherent to teaching and learning can be solved – or at least eased – through an application of the participation techniques developed by artists in such fields as: happenings, events, action poetry, environments, visual poetry, films, street performances, non-instrumental music, games, correspondences, etc.' Teaching and Learning as Performing Arts can be described as a study on experimental pedagogy based on the principles of Fluxus and kindred, participatory art movements of Filliou's era. For example, the publication's design enacts the principles it discusses: the text is punctuated with blank spaces left for the reader to fill—an invitation to collaborate and co-author the book. Filliou's invitation to the reader to become the writer was the starting point of this collaborative writing workshop. Eight participants distributed over different spaces at the Whitechapel Art Gallery during the London Art Book Fair shared one and the same online writing pad. This experiment in collaborative writing resulted in a story, which formed in real-time by reading and reacting to, adding to, changing or refining the unfolding narrative.<br/><br />
→[https://www.whitechapelgallery.org/events/writer-x-collaborative-writing-workshop/ Writer X, X Publishing School]<br/><br />
→[https://player.vimeo.com/video/342333199 Watch video &#x1F50A;]<br />
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==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop)<br/> at at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University, 2017==<br />
<br />
Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision what education might be like but frequently is not. "In the 1990s, bell hooks claimed: "Feminist Thinking in the Classroom Right Now "! So, what is the current state of feminist affairs in institutional teaching and learning environments? What characterizes the relation between student and teacher, academic discourse, and the spaces of its implementation, subjective experiences and social dynamics, artistic methods, and their historical references? Rose Borthwick and I addressed these questions reflecting on our experience of co-organizing "Let's Mobilize: What is Feminist Pedagogy?" at Valand Academy, University of Gothenburg in 2016, followed by a practical workshop. Instant posters were collectively developed and distributed at selected locations across the corridors, staircases, walls, and doors of the University building.<br/><br />
Convened by Mirjam Thoman<br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops Feminist Arts Education]<br />
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== Reading Gendered Words (workshop with Rosalie Schweiker)<br/>at ''Library Interventions'' Leeds College of Art, April 2017 == <br />
<br />
Convened by Rosa Nussbaum, the workshop was and included a conversation between Maria Fusco and Wendy Kirk (Glasgow Women Library) around cataloging practices at the Glasgow Women Library. It aimed to develop unorthodox approaches to cataloging selected titles from the Library of Omissions and Inclusions to experiment with alternatives to the normative "controlled vocabulary" used in the standardized library classification systems.<br />
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==Library Underground (performative reading)<br/> at ''Miss Read'' , Akademie der Künste Berlin, 2016 ==<br />
Miss Read Artist Book Festival and conference, organized by Michalis Pichler, Yaiza Camps, Moritz Grünke. Annette Gilbert convened the panel' Publishing as Artistic Practice'. The performative reading of a revised and updated script of the original text 'Library Underground' was performed by Eva Weinmayr as Eva Weinmayr and Eleanor Vonne Brown as Inner Voice.<br />
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==Exploiting Justice, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016 (presentation)==<br />
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==What is an Artschool, Chelsea College of Art, London, 2016 (presentation)==<br />
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=Notes (Summary of Projects and submitted material)=<br />
<references><br />
<br />
<ref name= "support">Support included colleagues's 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 </ref><br />
<br />
<ref name= "ANDnames"> AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND. Today it is run by Rosalie Schweiker and Eva Weinmayr. </ref> <br />
<br />
<ref name="networks"> OOMK, X Marks the Bökship, Keep it Complex in London</ref><br />
<br />
<br />
<ref name="email">Invitation email from curator Jenny Richards, 7 August 2017</ref><br />
<br />
<ref name="Mwebsite">[http://marabouparken.se/and-publishing/?lang=en MarabouParken website]</ref><br />
<br />
</references></div>Cclhttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=85684 Summary of projects and submitted material2020-08-18T10:26:31Z<p>Ccl: small edit to test</p>
<hr />
<div>=Intro=<br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry. It consists of a string of related practical experiments I carried out during my artistic career between 1998 and 2020. These practices attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. And they experiment with developing different models that facilitate an emancipatory, intersectional, de-colonial feminist knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the topic. <br />
<br />
One characteristic of these experiments is that most of them are collaborations. They often developed as responses to specific problems. These greatly differing instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category and loosened definition of knowledge practices. <br />
<br />
A pivotal common approach of these experiments is that they don't intend to make works "about politics". Instead, they aim at finding operational models to work counter-politically – through the actual practice itself. Hence my artistic concern is not to illustrate a political position, but to actively engage in political experiments in publishing and ecologies of knowledge.<br />
<br />
The projects discussed below fall in a wide range of contexts. What they have in common though is that they can all be seen in relation to institutions – with some being commissioned by institutions, others being situated in institutions (with and without an official mandate), and yet a third group operates "exstitutional", a term coined by Constant, Brussels, indicating a transversal collective working environment that is often inoperable within mainstream institutions. Lastly, most of these experiments are projected long-term. They develop over time to test out various agile approaches. If one approach is not working, it is adapted and applied again from a different angle. That is the reason why the following list is so comprehensive.<br />
<br />
I have structured them in section 2 "Projects". These are the longterm collaborative practices. They are followed by section 3 "Published (Fixed)" listing essays, book chapters, pamphlets, papers that I have published or co-published. Section 4 gives an overview of event-based activities (teaching, workshops, presentations, discussions, think-ins ) that I named 4 "Discursive (Unfixed)".<br />
</br><br />
<br />
=Projects overview=<br />
In the following, I give a brief summary over the five practice projects that each is described in more detail on the individual project pages.<br />
<br />
== AND Publishing – with Rosalie Schweiker and multiple collaborators <br/>(2009 – ongoing)==<br />
<br />
{{Interlink|AND Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://wiki.evaweinmayr.com/index.php/AND_Publishing|thumb|left|AND Publishing webpage]]<br />
<br />
AND is a collaborative publishing activity based in London. Initiated in 2009, it seeks to develop infrastructures of publishing starting from three questions: Why publish, how, and for whom? Observing that the existing institutional infrastructures keep replicating the exclusionary mechanisms and hierarchies dominating the university, AND started, without mandate <ref name= "support"/>, at Byam Shaw School of Art in London as an indy-university press, publishing works of students, staff and alumni in an equitable and non-hierarchical manner.<ref name= "ANDnames"/> Next to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also explores the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, builds informal support structures by sharing a studio, providing 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. The members of AND are part of a diverse network of critical, feminist, de-colonial publishing activities and campaigns.<ref name=" networks"/>AND's 10-year long practice forms the basis and context for the artistic projects submitted for the PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Library of Inclusions and Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Library_of_Inclusions_and_Omissions|thumb|left|Library of Omissions and Inclusions]]<br />
The Library of Inclusions and Omissions (LIO) is a practice-based experiment in critical knowledge infrastructures. Through an open call for contribution, it sets up a reference library that is curated by the community using it. So far, roughly 100 contributions are on the shelf. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, postcolonial materials which are not, or only sparsely available in institutional collections or databases, too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. Can such a curatorial concept help to give voice to undiscovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? <br/> <br />
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==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|The Piracy Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|link=The Piracy Project|thumb|left|Street vendor, Lima Peru, 2010 Photo: Andrea Franke]]<br />
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The Piracy Project started in collaboration with artist Andrea Francke as a reaction to the imminent closure of Byam Shaw School of Art Library in London. Through an open call for pirated books to populate the self-governed art school library and through researching pirate book markets in Peru, China, and Turkey, The Piracy Project gathered a collection of around 150 copied, emulated, appropriated and modified books from across the world. Their copying approaches vary widely, from playful strategies of reproduction, modification, and reinterpretation of existing works to circumventing enclosures such as censorship or market monopolies, to acts of piracy generated by commercial interests. This collection of books serves as the starting point to explore the common understanding of authorship, originality, and the implications policy and legal developments have had on intellectual property and copyright. Through temporary reading rooms, workshops, lectures, discussions, and debates, The Piracy Project explores the philosophical, legal, and social implications of cultural piracy and creative modes of dissemination. <br/><br />
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==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, Valand Academy, University of Gothenburg <br/>(2015–2016)== <br />
{{Interlink|Let's Mobilise: What is Feminist Pedagogy?|see project 4: Let's Mobilize: What is Feminist Pedagogy?}}<br />
[[File: Let's mobilize Valand Academy Forum 8c.jpg |400px| link=Let's Mobilise: What is Feminist Pedagogy?|thumb|left| Let's Mobilize: What is Feminist Pedagogy?, Valand Academy 14-16 Oct 2016]]<br />
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'Let's Mobilize: What is Feminist Pedagogy?' is a long-term collective investigation into intersectional, feminist and de-colonial pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The workgroup was set up by the desire to articulate and create a space for a queer and feminist perspective on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr). Its aim was twofold: Firstly, to provide a space to discuss the highs and lows in our own learning and teaching. To study and review university policies and institutional habits. To jointly read relevant texts and set up an online shadow library on feminist intersectional de-colonial pedagogies. This happened in bi-weekly lunchtime meetings that were open to the whole academy. <br />
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Secondly, we worked towards organizing an international conference (mobilization) that fundamentally rethinks how knowledge is produced, transmitted, and disseminated. We were keen to find strategies to adjust the Euro-centric canon and its exclusions, to question institutional habits and procedures, and to create an understanding of equality that is not blind to difference. The mobilization itself was a practice-based investigation experimenting with non-normative use of the classroom, time and temporalities, languages, and paying attention to the empirical body. <br />
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==Boxing and Unboxing, Research Residency, MarabouParken Konsthall, Stockholm – with Rosalie Schweiker <br/> (April – August 2018)==<br />
{{Interlink|Boxing and Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster-2018-01.jpg|400px|link=http://wiki.evaweinmayr.com/index.php/Boxing_and_Unboxing|thumb|left|Unboxing, AND Research Residency, MarabouParken Konsthall, Stockholm April–August 2018]]<br />
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During the five-months research residency at MarabouParken in Stockholm AND Publishing organized together with curator Jenny Richards boxing training for self-defining women, installed an "Unboxing Room" with the boxes of materials they brought from their UK based practice and held three public talks.<br />
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MarabouParken Konsthall's evolving strand of research residencies aims to collaborate with artists groups and collectives to support their practice by developing "new lines of inquiry over three months and share these with others through workshop and events.<ref name= "email"/> The overarching strand called "Acts of Self-ruin" was based on Leela Gandhi's book "The Common Cause" inviting collectives to explore the struggle for collectivity and equality in an age of individualism.<ref name= "Mwebsite"/> <br />
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== Against Immunisation: Boxing as a Technique for Commoning (exhibition, score), in ''Open Scores - How to program the Commons'', Panke Gallery, Berlin, 21 September – 12 October 2019==<br />
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[[File:Eva Weinmayr Open Scores Poster.jpg|thumb|left|100px|link=]]<br />
With this score "Against Immunisation: Boxing as a Technique for Commoning," I propose to rethink the concept of the commons in a counterintuitive fashion. If we conceived of boxing not as a concept of masculinity and violence or the survival of the fittest, but as a moment of intense negotiation of border space, contagion, and border linking, then it might serve as a technique to unlearn the building blocks of possessive individualism and the figure of the "proper."<br />
Boxing is a moment of "border swerving, border linking and border-spacing" (Ettinger), rendering permeable the borderlines of our "proper" subjects. As a nonverbal, bodily dialogue, it transgresses the very borderlines that we elsewhere seek to protect. During sparring, I deliberately forgo this established immunity – my contours become vulnerable through the mutuality of the touch: My fist touches and is being touched at the same time.<br />
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In the exhibition [https://www.panke.gallery/exhibition/open-scores/ ''Open Scores - How to program the Commons''], curated by [http://creatingcommons.zhdk.ch/ ''Creating Commons''] (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)<br/><br />
With Dušan Barok (monoskop.org), Marcell Mars & Tomislav Medak (memoryoftheworld.org), Sebastian Lütgert & Jan Gerber (0xdb.org), Sean Dockray (aaaaarg.fail), Ruth Catlow & Marc Garrett (furtherfield.org), Constant (Michael Murtaugh, Femke Snelting & Peter Westenberg), Laurence Rassel (erg.be), Stefanie Wuschitz (Mz* Baltazar’s Lab), Panayotis Antoniadis (nethood.org), Mario Purakthofer (www.dock18.ch), Alessandro Ludovico (neural.it), Eva Weinmayr (andpublishing.org), Kenneth Goldsmith (ubu.com), Zeljko Blace (#QUEERingNETWORKing), Sakrowski (curatingyoutube.net), Spideralex, Tactical Tech, Creating Commons, Alison Knowles.<br/><br/><br />
[http://wiki.evaweinmayr.com/images/a/a5/OPEN_SCORES-Catalogue_lowres.pdf →Download Exhibition Catalog][[File:Pdf.jpg|20px|link=]]<br/><br />
→[[Pages from Boxing and Unboxing Calendar, AND Publishing, 2018]]<br />
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== Micropolitics of Publishing (video interview), 15 September 2018==<br />
[[File:Eva Weinmayr Cornelia Sollfranck Creating Commons interview.jpg|thumb|left|100px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
Cornelia Sollfranck in conversation with Eva Weinmayr. Interview in the context of the research project [http://creatingcommons.zhdk.ch Creating Commons] at the Institute for Contemporary Art Research, Zurich University of the Arts, conducted in cooperation with HeK (House of Electronic Arts Basel) by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger (2017 – 2020).<br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ &#x1F50A; Watch interview]<br />
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==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
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This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) all trying to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship that is grounded in possessive individualism creates considerable blockages for critical art, education, and collective practice. <br />
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Trying to politicize individual authorship and to escape its construction through legal, economic, and institutional frameworks, I discuss how this chapter would circulate in current systems of dissemination, validation, and authorization if I did not assign my name to it - if it went un-authored so to speak. From a de-colonial feminist perspective, however, authorship is important. It marks the positionality of the speaking subject and accounts for the –often unacknowledged – eurocentrism of Western philosophy (Gayatry Spivak). <br />
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In [https://www.openbookpublishers.com/product/925" Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity"], edited by Janis Jefferies and Sarah Kember, Cambridge: Open Book Publishers, 2019<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/e/ef/Eva_Weinmayr_Confronting_Authorship-Constructing_Practices-Whose_book_is_it_anyway.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==More Verb, Less Noun - Publishing as Collective Practice (printed interview)==<br />
in conversation with Jinglun Zhu <br />
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in "The Netletter," Centre for Curatorial Studies CCS Bard, Annandale/N.Y, 2019<br />
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==One publishes to find comrades (book chapter)==<br />
[[File:Eva_Weinmayr%E2%80%93One_publishes_to_find_comrades.jpg|left|thumb|100px|link=http://evaweinmayr.com/wp-content/uploads/Eva-Weinmayr%E2%80%93One-publishes-to-find-comrades.pdf]]The text investigates how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product trying to convince someone of something, but rather a method for 'working towards establishing conditions for the co-production of meaning.' <ref>Stevphen Shukaitis, 'Toward an Insurrection of the Published? Ten Thoughts on Ticks & Comrades', ''eicp transversal'', June 2014 [https://transversal.at/transversal/0614/shukaitis/en#_ftnref1]</ref><br />
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In [https://mitpress.mit.edu/books/publishing-manifestos''Publishing Manifestos''], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. Originally published in [http://spectorbooks.com/the-visual-event''The Visual Event, an education in appearances''], edited by Oliver Klimpel, Leipzig, Spector Books, 2014 <br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Eva-Weinmayr%E2%80%93One-publishes-to-find-comrades.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Kunstforum interview 2018.jpg|left|thumb|100px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
Annette Gilbert, in conversation with Rosalie Schweiker and Eva Weinmayr (AND Publishing, London) about AND's collective feminist publishing practice that understands publication as a verb (a social process) rather than a noun (the finished object). Annette, Rosalie, and Eva discuss the multiple roles AND publishing takes on (artist, researcher, educator, curator, collector, librarian, host, organizer, and activist) and reflect on the dilemmas, contradictions and joy such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
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In [http://www.kunstforum.de/artikel/eva-weinmayr-und-rosalie-schweiker ''Publish! Publizieren als künstlerische Praxis'', Kunstforum International], issue 256, September 2018 (German language).<br/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==Rethinking where the thinking happens (public interview)==<br />
[[File:Published interview Sarah Kember Rethinking where the thinking happens – and-1.jpg|left|thumb|100px|link=]]<br />
Public conversation between Eva Weinmayr and Sara Kember, co-founder and director of Goldsmiths Press, London. In this conversation.... xxx<br />
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Published online, London AND Publishing [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/] and in print: Let's Mobilize: What is Feminist Pedagogy?, edited by Feminist Pedagogy Working Group (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), Valand Academy, Gothenburg, 2016.<br />
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== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne3.png|left|thumb|100px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
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This presentation in the panel "Publishing to Mobilize Knowledge" asks about the relationship between practices of production, circulation, and consumption of radical, critical, artistic publishing. What are the institutional infrastructures and routines (libraries, archives, bookstores, etc.) of naming and framing, of selecting and cataloging, and how do these routines institutionalize, privilege, or exclude knowledges that don't fit into the established categories. <br />
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This presentation was an occasion to experiment with citational practice and sharing bibliographies in a live situation: Using Twitter to live-publish the hyperlinks to references, such as films, images and texts I published my presentation slides live for the audience to revisit on Twitter.<br />
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At [https://www.khm.de/ipaap/" Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, 6 July 2018. Panel: "Publishing to Mobilize Knowledge" with Clara Balaguer, Yvette Mutumba, Eva Weinmayr. Organized by Agustina Andreoletti, Lilian Haberer, Karin Lingnau, Konstantin Butz.<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 Read Twitter thread]<br />
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==Dear Hannah (pamphlet)==<br />
[[File:LIO-Eva Weinmayr pamphlet 'Dear Hanna' Venice Biennale.jpg|thumb|left|100px|link=]]<br />
This short text is written in epistolary form. It reflects on issues of co-option, on collective and community-based work, on artistic ambition, and the limits of what is exhibitable in the context of an international art biennale. The text has been circulated as an email letter and printed pamphlet. <br/><br />
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Published on the occasion of [https://www.artandeducation.net/announcements/133094/research-pavilion-the-utopia-of-access ''The Utopia of Access''], exhibition, Pavilion of Artistic Research, 57th Venice Biennale 2017<br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pdf]][[File:Pdf.jpg|20px|link=]]<br />
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==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Eva Weinmayr Library Underground Sternberg Press.png|thumb|left|100px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
This chapter, written in the form of a dialogue, presents an informal conversation between Eva Weinmayr and her inner voice about artistic and critical practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from informal distribution strategies like the Whole Earth Catalog to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary activist librarian practices (aaaaarg, Memory of the World, The Piracy Project). Common concerns about the function and value of public libraries and access to knowledge "for every member of the community" (ALA, Library Bill of Rights 1939) seem to crop up throughout the conversation: Who is a library for?; What kind of materials and topics are missing and the implicit biases in the organization and classification of knowledge? <br/><br/><br/><br />
In [http://www.sternberg-press.com/?pageId=1640''Publishing as Artistic Practice''], edited by Annette Gilbert, Berlin/New York: Sternberg, 2016 <br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
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==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground-welcome to my tent-film still.jpg|left|thumb|100px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
The text has been performed from inside a trekking tent installed at Valand's main lecture hall with a video camera transmitting what happens inside the tent onto the lecture hall screen. With Eva Weinmayr as Eva Weinmayr and Rose Borthwick as Inner Voice. Filmed and edited by Camilla Topuntoli. Video 32 min. <br /><br />
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At the symposium "Photography in Print and Circulation," convened by Louise Wolthers, Niclas Östlind, Hasselblad Foundation/Valand Academy, University of Gothenburg, 2016<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
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== We don't want this to become an exhibit (book chapter)==<br />
This chapter is a revised manuscript of my presentation in the seminar "Socialising Archives" during the symposium "Archives of the Commons II – The Anomic Archive", at Museo Nacional Reina Sofia in Madrid, 2018. Chaired by Mabel Tapia, in this presentation I reflect on the tactics (and their complications) to use the pirated books in the Piracy Project Collection as a starting point for learning and critical reflection (workshops), and policy debate (discussions and debates). Participants in the seminar shared strategies and experiences of practices that turn an archive from a repository into a space of social, intellectual and political encounter. <br />
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The chapter is published in the book "Archivos del Común II: El Archivo Anómico," (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Red Conceptualismos del Sur, 2019. →[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/b/b5/Eva_Weinmayr_Piracy_Project_archives_of_the_commons_text_with_slides_and_captions_draft_August.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
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== Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating, co-edited with Andrea Francke (book)==<br />
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[[File:Piracy Project Reader–lowres.jpg|thumb|left|100px|link=]]<br />
The title of this publication lists the vocabulary that has become relevant while working on the Piracy Project. The terms describe the range of relationships to somebody else's work and will be explored in the book through essays from different fields of knowledge. <br />
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The first version included a range of essays, while other chapters were still to be written and terms to be explored. It was an attempt to use the publication to initiate thinking and have the thinking feeding back into the book. This approach was supported by the funding model. People bought shares in one essay (exploring one of the terms) they wanted to be written and thus financed the payment of an author fee.<br />
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As such the book is an ongoing and open-ended reader, which develops over time. "This book is not finished. It is the start of a dialogue that will grow as we go along. Normally when you publish a book, it aims to be a resolved object, an endpoint of a process. Not this one. The thing is that there are two of us, and that has become one of the key determinants of how the project evolves. There are always two voices, and that allows us always to be open to different positions. I guess that's what I call a dialogue." (Excerpt from the introduction to the book).<br />
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So far, the book contains essays and contributions by Dave Hickey, Eva Hemmungs-Wirtén, Joanne McNeil, Karen Di Franco, Lionel Bently, Prodromos Tsiavos, Sergio Munoz Sarmiento and awaits prospective essays by James Bridle, Stephen Wright and 16 others. Courtroom drawings are by Stephanie Thandiwe Johnstone.<br/><br />
25 x 21 cm, 140 pages, digital print. <br/>Published, designed and produced by AND Publishing, 2014<br />
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→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download pdf][[File:Pdf.jpg|20px|link=]]<br />
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==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project impermanent book2 Rhizome.png |thumb|left|100px|link=]] <br />
The essay discusses the desire for authoritative and stable book objects. It argues that the technical advances of industrial and commercial printing construct our contemporary idea of books as fixed and immutable objects. The emergence of digital print and print-on-demand, however, changes this perception, since they allow for continuous changes, adaptions, and revisions. The text discusses the assumed unease and fundamental challenge this kind of versioning exerts on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other? <br />
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In [http://rhizome.org/editorial/2012/apr/19/impermanent-book/''Rhizome.org''], 2012 and in ''Best of Rhizome 2012'', edited by Joanne McNeil, Brescia: LINK Editions, 2013 <br/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
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==Outside the Page, Making Social Realities With Books (chapter)==<br />
[More and better description needed...]<br />
This chapter discusses how the format of the publication determines its dissemination and related the modes of reading. The text contrasts Marcel Broodthaers' two-piece work 'Voyage on the North Sea' (1974) with the distribution of poster-size pages of 'Let's Mobilize: What is Feminist Pedagogy Workbook' across the building of Valand Academy. <br />
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In ''The Filmic Page'', "On Curating" ZHdK Zürich, forthcoming issue <br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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=="Let's Mobilize" Revisited (draft chapter)==<br />
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[[File:Chapter Lets Mobilize Revisited-Valand Academy Femped working group.jpg|thumb|left|100px|link=]] <br />
This experimental text was co-written by the Feminist Mobilization Working Group. It revisits a text by the same authors, published two years earlier, the "Glossary" in the "Let's Mobilize Workbook". The act of revisiting the original text allowed us to reflect with hindsight on the three-day event and the process of working together. By using the method of layered commenting, we preserved each author's voice instead of streamlining the writing into one voice. Here the collective writing of a text becomes a place for dialogue and disagreements. It builds on experiments of nonlinear writing done by Arno Schmidt ('Zettel's Dream', 1970) and Pierre Bayle ('Historical and Critical Dictionary', 1737).<br />
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In ''Decolonialism after the educational turn'', Valand Academy, University of Gothenburg, forthcoming<br/><br />
→[http://wiki.evaweinmayr.com/images/8/83/Draft_chapter-Let%27s_Mobilize_Revisited_Borthwick_Coble_Engman_Weinmayr_writing_dialog.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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==Help! David Cameron Likes my Art (book chapter)==<br />
File:Distributed Open Editions, London 2018 .jpg<br />
[[File:Distributed Open Editions, London 2018 .jpg|thumb|left|100px|link=]] <br />
The text narrates the course of events and agonies brought about by the UK Government Art Collection's acquisition of my artwork "Today's Question" and its subsequent loan to Samantha and David Cameron, then Prime Minister of the UK, for their private residence at Downing Street.<br />
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In [http://www.openeditions.com/index.php/distributed.html''Distributed''], edited by David Blamey and Brad Haylock, London: Open Editions, 2018<br/><br />
→[http://wiki.evaweinmayr.com/images/a/a5/Published_chapter-preprint_version_Help%21_David_Cameron_likes_my_art_-_Distributed-Open_editions_2018.pdf Download pdf] [[File:Pdf.jpg|20px|link=]]<br />
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== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern, 16-17 January 2020==<br />
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The concept of the library seems to have gained much attention recently. On the one hand, we keep hearing about public library closures across the continent, on the other, we witness much energy and activism in the development and sustenance of shadow libraries, whether physical or online. After all, libraries are spaces that turn marketable goods into public goods. They provide free access to knowledge that would otherwise have to be purchased. However, libraries arguably are also disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and secondly how this material is framed and represented in the catalog, which as I will claim, constitutes itself a meaning-making structure. As library scholar Emily Drabinski points out, classification schemes «are socially produced and embedded structures, they are products of human labor that carry traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them. It is not possible to do classification objectively. It is the nature of subject analysis to be subjective». Using the Library of Inclusions and Omissions as a starting point I will discuss the political nature of cataloging and indexing and its implicit dilemma since each standard and category valorizes some point of view and silences another.<br />
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The exhibition “Wir publizieren” is a collaborative project of the School of Art and Design at the Bern University of the Arts HKB in Switzerland, and of the Art and Design Department at the University of the Arts Bremen in Germany. At the intersection of literature, art, design, technology, law, politics and economics there is a mixture of practices, processes and institutions in which the little-researched phenomenon of independent publishing takes place.” (Gilbert 2019) The one and a half-day conference “We discuss” aims to discuss this phenomenon with the help of lectures, discussions and interventions. We ask ourselves the following questions: How can the interest in self-organized publishing as a political and social practice, and the resulting artifacts, be justified? How can these mostly complex and collective processes be archived and made accessible? What are the requirements for our behavior today? And how can these be conveyed? The conference is taking place as part of the exhibition “We publish - editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, 20 December 2019 - 2 February 2020). <br />
Contributions by Annette Gilbert, Jan-Frederik Bandel, Rolf Lindner, Anja Schwanhäußer, Andreas Vogel, Eva Weinmayr, Tine Melzer, Urs Lehni, Olivier Lebrun. Convened by Lucie Kolb, Tania Prill, Robert Lzicar.<br />
<br />
The exhibition “Wir publizieren” is a collaborative project of the School of Art and Design at the Bern University of the Arts HKB in Switzerland, and of the Art and Design Department at the University of the Arts Bremen in Germany. <br />
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http://www.wir-publizieren.ch/en/<br />
https://vimeo.com/387433989<br />
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==[https://www.panke.gallery/event/open-scores-moments-autonomy/ Moments of Autonomy. Feminist educational practices for the digital commons] (think-in)<br/> at ''Open Scores - How to program the Commons'', convened by [http://creatingcommons.zhdk.ch/ ''Creating Commons''], Panke Gallery, Berlin, 12 October 2019==<br />
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What concepts of knowledge inform our techno-feminist thinking and practice? How much do we have to know to be able to take an emancipated position? What is the role of affect in our daily handling of technology? To what extent can the principles of open-source culture be an inspiration for educational projects? What do we need to build communality in and for the techno-feminist struggle? (local/global)? What are methods to transform what has been learned into a collective agency and empowering strategies for desired change?<br/><br />
<br />
We will spend one day together in Berlin to exchange experiences, compare methodologies, develop strategies, inspire each other, and think about taking the next steps together… maybe in the form of a manifesto, a curriculum, a book, a conference, a research project… We will see what is most suitable and also feasible. Participants: Andrea Hubin (Kunsthalle Wien), Shusha Niederberger (Haus für Elektronische Künste, Basel), Peggy Pierrot (erg, Brussels), Daphne Dragona (Transmediale, Berlin), Safa Ghnaim (tactical tech, Berlin), Stefanie Wuschitz (Mz* Baltazar's Laboratory, Vienna), Magda Tyzlik-Carver, Janine Sack, Marie Dietze, Eva Weinmayr (AND, Let's Mobilize, Teaching to Transgress Toolbox, London/ Göteborg).<br />
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==Situated Collective Authorship (propositive input)<br/>at [http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html ''Authors of The Future: Re-imagining Copyleft'' Studyday],<br/> Constant, Brussels hosted by ISELP (Institut Supérieur pour l’Étude du Langage Plastique) Brussels, 27 September 2019==<br />
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Conventional intellectual property law binds authors and their contemporary hybrid practices in a framework of assumed ownership and individualism. It conceives creations as original works, making collective, networked practices difficult to fit. Within that legal and ideological framework, Copyleft, Open Content Licenses, or Free Culture Licensing introduced a different view of authorship, opening up the possibility for a re-imagining of authorship as a collective, feminist, webbed practice. But over time, some of the initial spark and potentiality of Free Culture licensing has been normalized, and its problems and omissions have become increasingly apparent. This study day is therefore meant to see if we can start re-imagining copyleft together.<br />
<br />
Can we invent licenses that are based on collective creative practices, in which cooperation between the machine and biological authors, need not be an exception? How could attribution be a form of situated genealogy, rather than accounting for heritage through listing names of contributing individuals? In what way can we limit predatory practices without blocking the generative potential of Free Culture? What would a decolonial and feminist license look like, and in what way could we propose entangled notions of authorship? Or perhaps we should think of very different strategies?<br />
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Severine Dusollier (SciencesPo, Paris): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/2_Severine_Dusollier_Inclusive_Copyright.html ''Inclusive Copyright'' &#x1F508;]<br/><br />
Aymeric Mansoux (XPUB, Rotterdam): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/5_Aymeric_Mansoux_Free_Only_if.html ''Free Only-if'' &#x1F508;]<br/><br />
Eva Weinmayr (Piracy Project/And Publishing, London): [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings/4_Eva_Weinmayr_Situated_collective_authorship.html ''Situated Collective Authorship'' &#x1F50A;]<br/><br />
Daniel Blanga Gubbay (KFDA, Brussels): [http://constantvzw.org/w/?u=http://sound.constantvzw.org/Authors-of-the-future/recordings/ ''Potential Authorship'' &#x1F50A;]<br/><br />
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[http://constantvzw.org/w/?u=https://pad.constantvzw.org/p/authorsofthefuture.participants Participants], [http://constantvzw.org/w/?u=http://sound.constantvzw.org/Authors-of-the-future/materials/ Materials], [http://constantvzw.org/w/?u=http://media.constantvzw.org/s/Authors-of-the-future/recordings Recordings], [http://constantvzw.org/w/?u=https://pad.constantvzw.org/p/authorsofthefuture.notesnotes], [http://constantvzw.org/w/?u=https://gallery.constantvzw.org/index.php/authors_of_the_future Images of the day]<br />
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== Library Talks, Rietveld Academy Amsterdam, 24 September 2019 ==<br />
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For this public talk in the monthly series "Library Talks" at Rietveld Academy in Amsterdam I chose 10 publications with interesting examples of colophones, in order to reflect on the common understanding and attribution of authorship and to investigate and rethink which roles and inputs in the collective production of a publication are acknowledged and credited. <br />
<br />
Gerrit Rietveld Academy / Sandberg Institute holds a monthly series of Library Talks. During each talk an invited speaker introduces a list of maximum ten books to the audience that have been important to their practice, and that will be acquired for the occasion by the library. The idea is that the speakers can introduce how their practice has been constructed by the selected books and which different voices their practice consists of.<br />
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The selection of books introduces different ways of reading our library collection: through the catalogue system and a custom made library card the library users can trace back these personal selections within the library.<br />
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The invitation: "During each Library Talk, a speaker introduces a list of a maximum of ten books to the audience that have been important to their practice, and that will be acquired for the occasion by our library. The only rule within the selection is that none of the books can be authored by the speakers themselves. We hope that the speaker can introduce how their practice has been constructed and which different voices it consists of."<br />
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The selection of books also introduces different ways of reading our library collection: through the catalog system and a custom made library card, the library users can trace back these personal selections within the library."<br />
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==[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law Interfacing the Law] (workshop) <br/> Constant Brussels & XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres, Rietveld Library (Amsterdam) 9-10 May 2019==<br />
<br />
Pirate libraries, shadow libraries, piratical text collections, amateur digital libraries, peer-produced libraries, and how to read them together. The study days are based on [http://constantvzw.org/w/?u=https://pzwiki.wdka.nl/mediadesign/Interfacing_the_law Femke Snelting's letter] to the participants in which she explains her discomfort of having signed the Custodians Online [http://custodians.online/ 'In solidarity with Library Genesis and SciHub' letter] back in 2015. She writes:<br />
<br />
: "The disobedient stance of piracy can obscure the way it keeps categories of knowledge in place, either by calling upon universalist sentiments for the right to access, by relying on conventional modes of care or by avoiding the complicated subject of the law altogether. If we want to find ways to make the public debate on shadow libraries transcend the juridical binary of illegal versus legal, and claim political legitimacy for acting out their potential, we need to experiment with how these libraries are a form of publishing, how they rethink the social contracts that link libraries, librarians, readers, and books. And that is what we'll try to do in Interfacing the law.<br />
:Extra-legal publishing, bibliothèques sauvage, piratical text collections, popular resource sharing methods, peer-acy, amateur digital libraries, bibliogifting, uneasy sharing, peer-produced libraries … the growing collection of euphemisms for pirate libraries points at the vibrancy of these practices that are literally unbound from institutional, legal and even conventional material constraints.<br />
:Always paradoxical or even incoherent, they interface each in their own way with legal and political frameworks. How can these practices get us closer to the kind of libraries we require?"<br />
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<br />
9 May 2019<br/> <br />
Visit Rietveld Academy Amsterdam to learn from Martino Morandi & Anita Burato about the project [http://catalogue.rietveldacademie.nl/about.html "Infrastructural Manœuvres in the Library"]. Participants: XPUB1 students (Piet Zwart Institute, Rotterdam), Ann Mertens (Constant Brussels), Martino Morandi & Anita Burati (Infrastructural Manœuvres, Rietveld Library), Lieven Lahaye (Rietveld Library), Eva Weinmayr (The Piracy Project/AND Publishing London). [https://pad.constantvzw.org/p/rietveld_library See collective notes]<br />
<br />
10 May 2019<br/> <br />
Workshop on "Pirate libraries, shadow libraries, piratical text collections, amateur digital libraries, peer-produced libraries and how to read them together." Participants: Femke Snelting (Constant, Brussels), XPUB1 students (Piet Zwart Institute, Rotterdam), Eva Weinmayr (The Piracy Project/AND Publishing London).<br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes] <br />
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==Experimental Publishing #1, Critique, Intervention, Speculation (symposium) <br/> at ''Centre for Postdigital Cultures, Postoffice'', Coventry University, 11 April 2019 ==<br />
Panel with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
Experimental publishing can be positioned as an intervention, a mode of critique, and a tool of speculation. It is a way of thinking about writing and publishing today that has at its center a commitment to questioning and breaking down distinctions between practice and theory, criticality and creativity, and between the scholarly and the artistic. This series explores contemporary approaches to experimental publishing as:<br />
*an ongoing critique of our current publishing systems and practices, deconstructing existing hegemonies and questioning the fixtures in publishing to which we have grown accustomed—from the book as a stable object to single authorship and copyright.<br />
*an affirmative practice that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments.<br />
*a speculative practice that makes possible an exploration of different futures for writing and research, and the emergence of new, potentially more inclusive forms, genres, and spaces of publishing, open to ambivalence and failure.<br />
This take on experimentation can be understood as a heterogeneous, unpredictable, and uncontained process. It leaves the critical potentiality of the book as a medium open to new intellectual, political, and economic contingencies.<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Postoffice]<br />
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==Tools and Infrastructures, ''Creating Commons'' (research meeting)<br/> at HeK, House of Electronic Arts, Basel 13.-16. September 2018==<br />
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The research project Creating Commons explores interstitial practices that open the space between art and commons. It studies practices that challenge established notions of contemporary aesthetic practice as well as of contemporary commons. The research aims to develop a new theoretical and aesthetic framework for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects. <br />
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For this research meeting, a group of artists, activists, designers, theorists, and researchers gathered to discuss the dynamics and role of infrastructures and tools. The framing questions for the research are: (i) how can new forms of organization and collaboration bring forth different kinds of cultural works and social relations? (ii) how are new property relations articulated? (iii) how can artistic practices contribute to the further development of the commons as inclusive, diverse, and democratic forms of organization? (iv) what role can art and an expanded understanding of aesthetics play in the advancement of the commons as a political project?<br />
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The research project is located at the Institute for Contemporary Art Research, Zurich University of the Arts, conducted in cooperation with HeK (House of Electronic Arts Basel) and conducted by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger (2017 – 2020).<br/><br />
→[http://creatingcommons.zhdk.ch Creating Commons, Tools and Infrastructures]<br />
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==Writer X, with Eleanor Vonne Brown (workshop) <br/> at ''X Publishing School'', Whitechapel Art Gallery London, 8 Sept 2018 ==<br />
A collaborative writing experiment with Eva Weinmayr and Eleanor Vonne Brown using an online text editor to write a live script from the London Art Book Fair creating imaginative fictional co-authored and situated narration. Prompt: "A well known public figure is circumnavigating the London Art Book Fair disguised as a librarian, a dementor, or a stray dog. Writers are situated throughout the fair and its threshold, observing and collectively creating and reworking a rolling commentary with each other on possible sightings." <br />
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For the London Art Book Fair 2018, founder of bookshop and art space X Marks the Bökship Eleanor Vonne Brown has collaborated with the Gallery to curate a series of events reimagining Whitechapel Gallery as the X Publishing School. Divided across five spaces, a lecture hall, a common room, assembly hall, library and a playground, the School takes Robert Filliou's Teaching and Learning as Performing Arts, Koenig, 1970, (Reprinted, Occasional Papers, 2014) as its curriculum. Filliou writes: 'The purpose of this study is to show how some of the problems inherent to teaching and learning can be solved – or at least eased – through an application of the participation techniques developed by artists in such fields as: happenings, events, action poetry, environments, visual poetry, films, street performances, non-instrumental music, games, correspondences, etc.' Teaching and Learning as Performing Arts can be described as a study on experimental pedagogy based on the principles of Fluxus and kindred, participatory art movements of Filliou's era. For example, the publication's design enacts the principles it discusses: the text is punctuated with blank spaces left for the reader to fill—an invitation to collaborate and co-author the book. Filliou's invitation to the reader to become the writer was the starting point of this collaborative writing workshop. Eight participants distributed over different spaces at the Whitechapel Art Gallery during the London Art Book Fair shared one and the same online writing pad. This experiment in collaborative writing resulted in a story, which formed in real-time by reading and reacting to, adding to, changing or refining the unfolding narrative.<br/><br />
→[https://www.whitechapelgallery.org/events/writer-x-collaborative-writing-workshop/ Writer X, X Publishing School]<br/><br />
→[https://player.vimeo.com/video/342333199 Watch video &#x1F50A;]<br />
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==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop)<br/> at at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University, 2017==<br />
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Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision what education might be like but frequently is not. "In the 1990s, bell hooks claimed: "Feminist Thinking in the Classroom Right Now "! So, what is the current state of feminist affairs in institutional teaching and learning environments? What characterizes the relation between student and teacher, academic discourse, and the spaces of its implementation, subjective experiences and social dynamics, artistic methods, and their historical references? Rose Borthwick and I addressed these questions reflecting on our experience of co-organizing "Let's Mobilize: What is Feminist Pedagogy?" at Valand Academy, University of Gothenburg in 2016, followed by a practical workshop. Instant posters were collectively developed and distributed at selected locations across the corridors, staircases, walls, and doors of the University building.<br/><br />
Convened by Mirjam Thoman<br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops Feminist Arts Education]<br />
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== Reading Gendered Words (workshop with Rosalie Schweiker)<br/>at ''Library Interventions'' Leeds College of Art, April 2017 == <br />
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Convened by Rosa Nussbaum, the workshop was and included a conversation between Maria Fusco and Wendy Kirk (Glasgow Women Library) around cataloging practices at the Glasgow Women Library. It aimed to develop unorthodox approaches to cataloging selected titles from the Library of Omissions and Inclusions to experiment with alternatives to the normative "controlled vocabulary" used in the standardized library classification systems.<br />
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==Library Underground (performative reading)<br/> at ''Miss Read'' , Akademie der Künste Berlin, 2016 ==<br />
Miss Read Artist Book Festival and conference, organized by Michalis Pichler, Yaiza Camps, Moritz Grünke. Annette Gilbert convened the panel' Publishing as Artistic Practice'. The performative reading of a revised and updated script of the original text 'Library Underground' was performed by Eva Weinmayr as Eva Weinmayr and Eleanor Vonne Brown as Inner Voice.<br />
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==Exploiting Justice, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016 (presentation)==<br />
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==What is an Artschool, Chelsea College of Art, London, 2016 (presentation)==<br />
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=Notes (Summary of Projects and submitted material)=<br />
<references><br />
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<ref name= "support">Support included colleagues's 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 </ref><br />
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<ref name= "ANDnames"> AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND. Today it is run by Rosalie Schweiker and Eva Weinmayr. </ref> <br />
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<ref name="networks"> OOMK, X Marks the Bökship, Keep it Complex in London</ref><br />
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<ref name="email">Invitation email from curator Jenny Richards, 7 August 2017</ref><br />
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<ref name="Mwebsite">[http://marabouparken.se/and-publishing/?lang=en MarabouParken website]</ref><br />
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</references></div>Cclhttp://wiki.evaweinmayr.com/index.php?title=MediaWiki:Sidebar&diff=4549MediaWiki:Sidebar2019-12-18T11:10:49Z<p>Ccl: </p>
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<div><br />
* navigation<br />
** mainpage|Contents<br />
** About this wiki | About this wiki<br />
** Introduction |1 Introduction<br />
** Survey of the field |2 Survey of the field<br />
** Summary of projects and submitted material |3 Summary of projects and submitted material<br />
** AND Publishing |3.1 AND Publishing<br />
** Library of Inclusions and Omissions|3.2 Library of Inclusions and Omissions<br />
** The Piracy Project|3.3 The Piracy Project<br />
** Let's Mobilise: What is Feminist Pedagogy? |3.4 Let's Mobilise: What is Feminist Pedagogy?<br />
** Boxing and Unboxing |3.5 Boxing and Unboxing<br />
** Reflection, theorisation of projects |4 Reflection, Theorisation of projects<br />
** Analysis |5 Analysis<br />
** References |6 References<br />
** Appendix | 7 Appendix<br />
** Former Main Page | Former Main Page<br />
** early roadmap|Early Roadmap<br />
** Annotations|Annotations area<br />
** Colophon|Colophon<br />
** Template:Interlink|Interlinks<br />
** Template:Outerlink|Outerlinks<br />
** recentchanges-url|Recent Changes<br />
** Special:NewFiles | New Files<br />
** helppage|help<br />
* SEARCH<br />
* TOOLBOX<br />
* LANGUAGES</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=3_Survey_of_the_field&diff=45483 Survey of the field2019-12-18T10:14:09Z<p>Ccl: /* Feminist Search Tool */</p>
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<div><br />
<span style="color: red> This isn't done yet</span><br />
==intro==<br />
This section provides a context for the contribution made by the research project as a whole. It does so by gathering a range of examples that are used to identify and delimit the general conditions of knowledge-practice with respect to the politics of publishing at the intersection of contemporary art, radical education and institutional analysis. The artistic examples and practices I will describe in the following are spread widely in terms of geography and history, and they are also drawn from a wide range of disciplinary frames. This wide field of sampling is informed by a commitment to work transversally and to not be bound by the protocols of one field alone – such as for example contemporary art or feminist organisational practices.<br />
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On closer inspection, the practices I discuss all share two distinct features: They are discrete instances, where the dominant paradigms of publishing and the formation of knowledge have been in some way or another adjusted and they act as declared counter-political project. In sampling these arguably disparate practices I did not start with explicit criteria, instead through sampling I arrived at explicit criteria – that in turn helps me to name and delimit the context into which I am making a contribution.<br />
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All the examples and practices described interfere in distinct critical ways with notions of authorship, editorial processes, design and production as well as distribution, but also with concepts of classifying, archiving and also reading publications. Overall this communality ties them together into a broader act of contesting power.<br />
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The examples addressed are as follows: Early conceptual artists books, as a decentralisation of the art system by setting up own infrastructures of production and distribution; Second wave feminist publishing (See Red) as an example for collectivity as process of discovery and articulation; Interventions into existing publishing infrastructures such as Cildo Mereiless 'Insertions into ideological circuits' and the Yes Men. Radical Librarianship, such as aaaaarg.org and memoryofthe world.org, Kvinnsam at Gothenburg University and 'The Feminist Search Tool' at Utrecht University concerned with access, organisation, classification and validation of knowledge; and the work of the Radical Open Access Collective in the UK around open access and the ethics of care concerned with countering the calculative logic of metrification that permeates academic publishing.<br />
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These examples are discussed in a broadly chronological sequence, however, it is not suggested that there is any developmental narrative here as such. Rather, these different examples provide a genealogy of concerns that help to locate the specific contribution of the current enquiry.<br />
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the serving library<br />
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==Early conceptual artist books: Setting up infrastructures of production and distribution (the 60s and 70s)==<br />
Artists' books at the time were arguably a means to circumvent established institutions and perhaps to a certain degree an attempt to reform the art system by: “(1) the use of inexpensive printing and production methods allowed anyone to be a publisher, (2) alternative distribution networks were ‘aiding in the decentralization of the art system …’, (3) this form of art was portable and disposable and (4) these works were, or could be, ‘democratic objects’”.<ref name="Perrault1" /> <ref name="Baldessari"/><br />
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These artistic practices criticised the paradigms of the art market by avoiding the aura of preciousness, uniqueness by using mass production techniques such as commercial litho printing. In contrast to traditional, unique art objects “a book’s text is infinitely replicable, the number of copies that can be printed is theoretically limitless.”<ref name="Kostelanetz1" /><br />
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Art theorist Lucy Lippard argues that the main reason the book has proved to be so attractive as an artistic medium has to do with the fact that artists’ books are ‘considered by many the easiest way out of the art world and into the heart of a broader audience’.<ref name="Lippard1" /> Lippard describes here the fundamental political potential of the artists' book as a conceptual and material means to question, intervene in and disturb existing practices and institutions.<br />
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The challenge, however, was the setting up production and distribution systems, that provided an alternative way to circulate the books without falling back to exclusionary market mechanisms of the art system. Investigating whether artists could set up independent systems of circulation the editors of Art-Rite magazine put out a call:<br />
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“Artists’ Books – We are investigating the possibilities of a publishing and distribution system for artists’ books. (This does not mean catalogues.) Do you have: a) already published books that we can distribute or sell on consignment? b) Completely planned, unpublished books with or without dummies? c) names of other artists who have either one? Let us know. Please send information to: PRINTED MATTER, 164 Mulberry St., NYC 10013.”<ref name="PMcall" /><br />
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Due to their perceived potential to subvert the (commercial, profit-driven) gallery system and to politicise artistic practice - artist books according to Joan Lyons played an important part in the rise of independent art structures.<ref name="Lyons"/> Artists started to set up their own distribution infrastructures by founding independent artist book shops<ref name="shops" />, in an attempt to counter the hegemonic art gallery market –to a certain extent. This disclaimer is necessary, as history has shown, that artists books were prone to be easily recaptured by the system. Firstly because many artists at the time were relying on gallery representation and gallery distribution. And secondly, because the descriptor “artist book” implies, that we deal with an object, which can easily be recaptured by the market as a collectable. Ed Ruscha, for example, writes in a letter to John Wilcock, the founder of Village Voice in New York: “I made a terrible mistake by numbering my “26 Gasoline Stations” books, because then the books became a limited edition rather than just another book, which is what I am after”.<ref name="Ruscha" /><br />
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==Terminologies and identity politics==<br />
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The term artists' book is still widely in use, as the names of the 'New York Art Book Fair' (founded by A.A. Bronson/Printed Matter in 2004 [fact check]), "London Art Book Fair" (Whitechapel Art Gallery, London) evidence. However, for my inquiry into the social agency of publishing the term 'publishing' seems more useful. This new terminology suggests shifting the focus from the finished object to the process. This is being discussed in more detail in the chapter →'Confronting authorship, Constructing Practices'.<br />
<br />
However while the term "artists’ publishing" shifts the emphasis to the process it limits its applicability to authors, who define themselves as artists. Richard Kostelanetz writes in 1979 'One trouble with the current term artists’ books is that it defines a work of art by the initial profession (or education) of its author, rather than by qualities of the work itself. Since genuine critical categories are meant to define art of a particular kind, it is a false term. The art at hand is books no matter who did them; and it is differences among them, rather than in their authorship, that should comprise the stuff of critical discourse.' <ref name="Kostelanetz1"/>Due to the problematic of the author question in “artist’s publishing” the term ‘independent publishing’ and self-publishing has been introduced. Both terms are seeking to distance the practice from institutional or mainstream commercial publishing practices.<br />
<br />
This observation of authorship assigned to specific identities, professions or disciplines seems relevant for my inquiry and has been discussed and experimented with in a variety of forms. It comes up for instance in the discussion around the complexities of →[[#Topic Classification|classification]] and in the practice of →[[#5.4 Boxing and Unboxing|Boxing and Unboxing]].<br />
<br />
==Making Public: “Insertions into Ideological Circuits”==<br />
<br />
In his series of works “Insertions into Ideological Circuits” (1970) the Brazilian artist Cildo Mereiles infiltrated already existing infrastructures of circulation by screen printing anti war slogans on recyclable Coca Cola bottles, or rubber stamped critical questions about the dictatorship on one dollar bills to circulate them through many hands. Here the artist merely “piggy-bagged” on already existing infrastructures of circulation as carrier for his messages. In the same vein in November 2008 activists around the US prankster collective The Yes Men “hacked” the New York Times by printing a “special edition” of 80,000 copies, which was distributed for free to passers-by on the streets of several US cities. This special edition was a perfect replica of The New York Times. The activists co-opted the authority and visual appearance of the New York Times in order to circulate a visionary “best case scenario” with hypothetical headlines and articles, such as “Iraq War Ends”, “Minimum Wage Law Passes Congress”, USA Patriot Act Repealed”, All Public Universities to Be Free”. <ref name="YesMen" /><br />
<br />
==Dematerialisation of art, >>collaboration>>tranversal collective practices==<br />
Lucy R. Lippard, ed.. Six Years: The Dematerialization of the Art Object from<br />
1966 to 1972: A Cross-Reference Book of Information on Esthetic Boundaries (New<br />
York: Praeger, 1973).<br />
<br />
==Publishing as pedagogical, dialogical process==<br />
<br />
In the 60s and 70s political and feminist groups in a politicised climate of counter-information radical print-shops and collective screen print workshops (See Red) in London <ref name="Jess Baines" />, feminist magazines (Spare Rib), and a vivid feminist zine culture (Riot girrrls) developed in many cities across Europe and the US in order to raise awareness against inequality and discrimination. Rejecting the role of the artist these activists participated in a network of campaign groups, radical publishers and distributors. One could argue, that the focus here was less on concepts of format or material qualities of a publication, instead the poster, magazine, book were a means to an end, to agitate, to activate, to get the message out, to give voice, create solidarity and work collectively towards change.<br />
<br />
For the See Red feminist silkscreen poster collective, for example, which started in London in 1974 working collectively was central. “In the early days the posters were mainly produced about our own personal experiences as women, about the oppression of housework, childcare and the negative image of women. An idea for a poster would be discussed in the group, a member would work on a design, bring it back for comment, someone else might make changes and so on until the collective was satisfied with the end result; no one individually took the credit. This was a concept many in the art world found hard to accept: ‘who holds the pencil? Someone must hold the pencil!’” <ref name="SeeRed1"/> The collective of women got together to combat the negative image of the women in advertising and the media. Suzy Mackie and Pru Stevenson, founding members of the See Red Women’s Workshop stressed in a public talk at The Showroom in London how important it was to gather in person and generate ideas about how to visualise a particular issue that was important to them. It was the activity of articulating experiences and collective brainstorming and the discussion of ideas that led to sharp slogans and imagery for the posters.<br />
<br />
I understand from these self-descriptions, that the collective work on developing a slogan, an image for a poster was a collective process of discovery, a dialogical process which was facilitated through collective making. So when does the making public start? Around the working table?<br />
<br />
<br />
Example 2: <br />
Elise and Celestin Freinet purchase of a printing press for the classroom, elementary school in France (1926) to work in the classroom with students to produce own teaching material and textbooks. collective editing, peer review, school journal to be exchanged with other schools. Contextual publishing. School archive own classification system.<br />
<br />
==Radical Librarianship== <br />
<br />
===Questions of access and validation===<br />
<br />
Setting up self-organised libraries has become a field of practice for a range of artists and<br />
activists as a way to rethink the infrastructure of knowledge formation. Their practices<br />
can be described as creating a knowledge commons and as social and anarchist technique, which problematises the enclosure and privilege of knowledge in institutional libraries. <ref name="Library Underground" /><br />
<br />
Among the range of artists who have worked with libraries as part of their art practice, is, for example, Martha Rosler’s personal collection of books, which she lent to e-flux in order to create reading rooms in New York, and several cities across Europe open to the general public. This collection of books is curated by the artist and has been framed as artwork by an individual artist. While Rosler rejected the perception, that this exhibited library can be read as a kind of portrait of hers, it nonetheless focusses around her artist personality and lines of thinking. While it can be seen as a generous gesture to provide temporarily public access to a personal library, conceptually one could say it replicates the power structures of one individual deciding what goes in and is kept out.<br />
<br />
By comparison, a different and perhaps more community-building approach take various small libraries and reading rooms emerging in cities in Europe and the US in recent years. Often set up by artists or connected to newly emerging maker spaces, these small community-run libraries are informally organised and cater to the needs of local residents and various community groups living in the area. They are building on the tradition of collectively run infoshops or community archives arising in the 70s and 80s in the UK as part of social movements. They operated independently, not council-run or organisationally affiliated and were catering explicitly for the information (and other, social and cultural) needs of its users. (Atton 1999)<br />
<br />
===Shadow Libraries===<br />
In the same vein, the curatorial principle of online library projects by artists and activists, such as the peer-to-peer sharing platforms aaaaarg.fail or memoryoftheworld.org are starting from the idea “when everybody is a librarian, library is everywhere”. Both projects are digital platforms. They are open and non-theme based online repositories for sharing mostly theory texts, which are uploaded by the platforms’ users. Memory of the World, initiated and hosted by Marcell Mars states “The Public Library is first — free access to books for every member of society, second — a library catalogue, and third — a librarian. With books ready to be shared [online], meticulously catalogued, everyone is a librarian. When everyone is a librarian, the library is everywhere.” <ref name ="Marcell Mars"/> I will come back to the cataloguing aspect of such practice in the next paragraph. <br/><br />
monoskop, libgen, etc<br/><br />
By comparison, aaaaarg.fail comes from a slightly different angle. It is often understood solely as an open-source platform for freely sharing books but is actually born from a desire to share books with others in order to start a conversation. It developed from gatherings of the Public School, a self-organised educational project in Los Angeles, which started in 2007.<ref name="Public School"/> It was founded by Fiona Whitton and Sean Dockray. They felt that a curriculum always comes with an institutionalised agenda defining a prescribed canon of learning. In the Public School, people propose classes they want to take or want to teach and collaborate in exploring the proposed subjects together. <ref name="Dockray interview"/> Public School has been spreading to other cities such as Buenos Aires, Berlin, San Francisco, New York, Durham, Helsinki, London, Vienna among others. Aaaaarg.fail has become over the years a huge repository of theory texts and therefore a vital tool for artists, theorists and academics, who have not access to academic libraries or are not able to find the material in institutional repositories.<br />
<br />
Other practices likewise share the aim to counter institutional distribution monopolies and a wide range of online repositories have been built over the last two decades. However, these repositories differ in one crucial aspect from user-generated peer-to-peer platforms in that they are individually curated. Ubuweb, for example, is a highly controlled online archive for text, audio and video and curated by conceptual writer Kenneth Goldsmiths in New York. Monoskop, a private book collection turned into a public online archive run by Dusan Barok in Amsterdam. The Public Collectors online archive is curated and maintained by Marc Fisher in Chicago (Temporary Services).<ref name="Public Collectors"/> In contrast to these digital libraries Antonia Hirsch’s The Surplus Library on Affect & Economic Exchange instigates the lending of individually owned hardcopy books, mediated through an online platform, which indicates the location of the book to be lent from (mostly) private book collections.<ref name="Surplus" /><br />
<br />
While this second set of platforms operate as accessible repositories built through generous acts of critical archiving, they are not user run and are in most cases tightly connected to an individual (artist). The question and problem which has been addressed in recent activist discourse is to find ways how such infrastructures could be collectivised in order to secure the accessibility and usability of decades of content digitising and archiving for future generations.<br />
<br />
Historically libraries operated in two ways, as philanthropic institutions “providing access to knowledge for every member of the community” but equally as disciplinary institutions. Disciplinary, because only selected material has been validated as worthwhile being included and passed on. This creates a canon. It can be expanded and opened up to new entries and views, however, a library serving a white middle-class male readership gathers material for the white Western middle-class readership. If no topics are included, that serves a newly arrived immigrant community or the queer, trans, lesbian community, these groups won’t count as patrons. So, the question arises whether the library shapes its readership or the readers form the library. And how to escape this on-going self-reproducing mechanism?<br />
<br />
All the above-described practices share the concern of how to provide access to material, which is not collected by institutional libraries or archives or is tucked away in private collections. Implicit in the question of access is the question of finding, and therefore of organising, indexing and cataloguing.<br />
<br />
===Questions of organisation and classification===<br />
<br />
Classifying, indexing, summarising or key-wording is always an act of interpretation. It is a framing procedure, controlling how content will be found and interpreted. Melvil Dewey’s classification system for example, which has become a standard organising system in many public libraries worldwide has been criticised by his biographer as being based on “a patriarchal White Western (and, of course, Christian)” worldview. (Wiegand xxx)<br />
What is left out here is a whole range of alternative perspectives on humanity’s knowledge. (see detailed discussion: Weinmayr, Library Underground, p.166).<br />
<br />
'''Problem 1: Universal Language'''<br />
The radical library movement in the 70 and 80s was looking at such biases. In particular <br />
Sanford Berman’s study “Prejudices and Antipathies-A Tract on the Library of Congress Subject Heads Concerning People” (Berman 1971) revealed that Library of Congress subject headings, particularly those that are used to identify groups of people, perpetuate “the exclusionary cultural supremacy of the mainstream patriarchal, Euro-settler culture” (Olson 2000). In a word, many subject headings exhibit “bias”: that is, they use language that shows prejudice in favour of particular points of view, and against others.<br />
Berman’s study and critique actually resulted in changes in the LC catalogue: 64% of Berman’s suggested “remedies” have been implemented since the publication of his critique, but the 80 items, which remain unchanged show some patterns of thought pertaining to the Christian religion. <ref name="Knowlton"/> (Please watch the video Library Underground for a detailed discussion.) <br />
<br />
However cataloguing is not only controlling how specific content is framed, but it also determines whether content will be found at all. Internet search engines, for example, are the front door to the www. Google’s search algorithm can be easily adjusted, and search results manipulated according to specific interests.<br />
<br />
====KvinnSam, the National Resource Library for Gender Studies at Gothenburg University====<br />
developed a response to biased cataloguing. In 1958 three librarians at Gothenburg University library started collecting and cataloguing women literature, material about women struggle for suffrage and got aware that within the existing holdings was plenty of material relevant to women and gender struggle, but it was not catalogued as such. The relevant keywords were missing and therefore hard to find. The librarian started to establish a parallel keyword catalogue, analogue at the time, by indexing the already existing holdings of Gothenburg University library in order to make aspects of gender manifest and therefore searchable. Today, Kvinnsam is a digital keyword search catalogue which operates parallel to the standard search catalogue. It can be browsed in order to find specific material, that would not show up in the standard catalog.<br />
<br />
====Feminist Search Tool====<br />
Similar activism to question the architecture and implicit biases in the organisation of knowledge drives a group of contemporary artists, who are affiliated with the Read-in collective in Utrecht. Collaborating with the librarians at Utrecht University library they developed a Feminist Search Tool, which starts from the question: “Why are the authors of the books I read so white, so male, so Eurocentric?” <ref name="Feminist Search Tool"/> To answer this question they developed a digital interface, based on the library’s Marc21** fields, an international digital cataloguing standard (Machine-Readable Cataloguing), which aims to map the existing library records (from 2006-2016) applying different categories, such as race, gender, ethnicity, nationality, class. <br />
The digital interface invites the users to apply different categories to their search and maps the existing library records from 2006 – 2016 according to selected filters, such as the language of publication, place of publication, type of publisher, the gender of the author. <br />
The search results then map how many female non-Western authors and female authors of colour are represented and therefore reveal inclusion and exclusion mechanisms of our knowledge institutes. In contrast to KvinnSam search engine developed in Gothenburg, it is not a search engine for known-item search, delivery search, that is a search for a specific item for which either the authors or the title is known. Instead, th Feminist search tool operates as an “awareness-raising tool to stir conversations about the inclusion and exclusion mechanisms that are inherent to our current Western knowledge economy and our own complicities in (re)producing what is considered as ‘knowledge’ (and what is not).”<br />
As such this intervention is not be seen as a replacement for the UU library catalogue, “but a supplementary tool for any inquiring person to approach one’s own biases and taken for granted truths that one is reproducing whilst studying and researching”.<ref name="Feminist Search Tool"/><br />
<br />
====Infrastructural Manoevres, Rietveld Library Amsterdam====<br />
<br />
====Radical Librarianship / Teaching The Radical Catalog====<br />
<br />
A large body of research has documented biases of gender, sexuality, age, class, ethnicity, language and religion in the construction of a universal language in the naming of information for retrieval. This universal language uses a controlled vocabulary to represent documents. It limits diversity and has a direct practical impact on the reader searching for materials outside of a traditional mainstream, materials crossing disciplines or marginalised topics. This controlled vocabulary appears unbiased and universally applicable - but it actually hides its exclusions under the guise of neutrality. According to library scholar and teacher, Emily Drabinski “classification schemes are socially produced and embedded structures. They are products of human labor that carry traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them. [...] We cannot do a classification scheme objectively; it is the nature of subject analysis to be subjective.” <ref name="Drabinski1"/><br />
<br />
'''Problem 2: Hierarchical Structure, Fixity'''<br />
<br />
Library activists such as Berman, whose suggested remedies to the LC subject headings, such as the elimination of the conspicuous racist “Yellow Peril” in 1989, has called attention to the hegemonic nature of classification. However, as Drabinski argues, while he is struggling to change the thesaurus he leaves the structural problems untouched. And according to Drabinski Berman’s approach actually presupposes, that there is some “right” language, that could be universally understood and applied.” But the politics of language is virtually always contested. “And the struggle for a universal “correct” language does not account for the ways in which language is inherently political and contextual.” Language and descriptors are also in motion when it comes to shifting identities….<br />
<br />
[indigenous classifications…]<br />
<br />
Therefore critical feminist libraries developed contextual, local classifications, which are user-centred for particular collections, or put effort, funds and energy in developing a user-centred classification for particular collections, such as the Glasgow Women Library and The Feminist Library in London. It is the critical engagement with the catalogue and its architecture, which is at stake. Not uncritically taking the classification for granted “as though it were a natural landscape rather than a well-manicured lawn that is the product of intellectual labor”. <ref name="Olson1"/><br />
<br />
[Drabinski 'Teaching the Radical Catalog': Alongside revising the library catalogue: a method would be to teach its implicit contestations and biases... more]<br />
<br />
These contestations around subject classification relate mainly to physical libraries. In online repositories, the introduction of full-text search and keywords help to a certain extent to overcome the problem. To a certain extent, because the interfaces provide a limited structure for Metadata, as we will see further below.<br />
<br />
====Performative Propositions: Policy Document at ERG====<br />
In early 2018, a group of students and staff at École de Récherche Graphique in Brussels circulated a policy document "Proposals for amendment to be made regarding the study rules".<ref name="ERG1"/> Article 2 in this document refers to library policies:<br />
::"When the author identifies himself as the cis-type, heterosexual and white man, the books will be moved within the archives to recall, on the one hand, that this is one point of view among others. On the other hand, that the latter is hegemonic. A warning page will have to be included in each book when the readers will wish to consult the said works. Strict quotas will be put in place regarding the selection of the books represented. Attention will be paid to both subjects, the writing context and the authors." The topics under quota to be represented list: gender issues, queer issues, feminism, afro-feminism, trans-feminism, xeno-feminism, intersectional feminism, ecofeminism, eco-sexualite, LGBT, LGBTQQ I2SPAA+." <br />
<br />
This policy document, sounding radical and almost utopian in its dramatic propositions, makes us pay attention to the fact, that authors who became part of the published canon speak from particular vantage points. The differences of authorial perspective need to be acknowledged and not swept under the carpet of universality and neutrality. <br />
<br />
In an even bolder step article 3 in the same document proposes, therefore, to relate the payment of tuition fees to privilege. For this, a catalogue of ten criteria is drawn up: male, heterosexual, cis-gender, white, standard body, valid (valide), well-read, middle-class and bourgeois, carnivorous, human. If a student's profile, for instance, ticks three out of ten boxes (3/10), this coefficient will be applied in two ways: The percentage - in the example 30 per cent - is added to tuition fees and other expenses, such as prices at the coffee machine, for photocopies and other materials. But the percentage will also be deducted as "penalty" from achieved points in the academic evaluation and jury assessments. Apparently the policies described are so far only proposed, as its implementation, in reality, would amount to negative discrimination which is illegal in most European countries. <br />
<br />
However such propositions can be performative: When I travelled to Brussels, visiting ERG in summer 2018, to talk to the document's authors, they explained – not without blurting out a giggle – how much this proposition already had stirred up day-to-day assumptions on privileges and social background at their art school. The document was posted on the walls of the art school, as well as emailed to staff members and students. Taking in the suggested rules appealed to any staff member to consider, name, acknowledge and eventually unlearn their own privileges, I was told.<br />
<br />
==Dissemination: Digital Turn / Open Access==<br />
<br />
Can current academic publishing ecosystem learn from experimental artistic and feminist publishing practices? How can these experimental interventions potentially reform inequalities, streamlining and metrication of academic publishing? The call for publicly funded research at universities to be published open access shifts the major part of research outputs into the digital realm. <br />
<br />
*radical open access as potential to transform the structures of institutional authority and legitimacy?. <br />
*building of commons-based open access publishing infrastructures for promoting a more diverse, not-for-profit eco-system of scholarly communication<br />
*values that underpin many of the radical open access community’s experiments in open publishing<br />
*Problem: OA complicit with neoliberalism’s audit culture of evaluation, measurement, impact and accountability. Open Access arguably has become a “mandate”, a top-down requirement rather than a bottom-up scholar-led movement for change. <br />
*experiments reclaiming open access from corporate take over (APC - Gold Model, Elsevier & co)<br />
*exploring how an ethics of care can help to counter the calculative logic (metrification) that permeates academic publishing. (Mattering Press) <br />
*alt metrics - gaming the system (Marina Frantzen & Punctum Press) <br />
*“Higher education has a culture problem that is at once historical, structural, and interpersonal”– To confront the toxic culture of higher education HuMetricsHSS Initiative propose a value-based “metric” framework around values such as equity, openness, collegiality, quality, and community, which not only functions as a checkpoint for self-reflection, but also as a starting point for better academic practices and outputs. (Christopher Long, HuMetricsHSS Initiative Michigan State University)<br />
*Making publishing more diverse and equitable – geographically, but also with respect to issues of class, race, ethnicity, gender and sexuality<br />
*Nurturing new and historically under-represented cultures of knowledge – those associated with early career, precariously employed and para-academics, or located outside the global North and West?<br />
*ethical academic publishing: how to ensure everyone is able to have a voice – particularly those writing on niche or avant-garde topics or who are conducting hybrid, multimodal, post-literary forms of research, and who are currently underserved by our profit-focused commercial publishing system. <br />
*understanding publishing very much as a complex, multi-agential, relational practice <br />
*What is the potential of new forms of “open cooperativism” in which organisations commit themselves “structurally and legally to the production of common goods (the common good, the commons)”? (Bauwens 2016) <br />
*Coventry University’s Centre for Disruptive Media (CDM) and the Disruptive Media Learning Lab (DMLL): How is media practice disruptive of and re-performing the way we do scholarly communication and education? How can the Journal of Media Practice reconfigure (the politics of) its own practice? What should a disruptive ‘journal’ of media practice look / sound / feel like?<br />
*Can open access and open source transform the institution of the university itself?<br />
<br />
<br />
[Here to be inserted: Closing section paragraph that distills the main concerns from the examples and lead to the next section,ie my experiments.]<br />
<br />
<br />
<br />
==Notes (State of the art in this domain, survey of the field)==<br />
<references><br />
<ref name="Public Collectors">Self-description: “Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. Public Collectors features informal agreements where collectors allow the contents of their collection to be published or exhibited, and permit those who are curious to directly experience the objects in person. Collectors can be based in any geographic location.” http://www.publiccollectors.org/</ref><br />
<br />
<ref name="Surplus">Self-description: “In redefining the concept of a physical library, the Surplus Library on Affect & Economic Exchange operates on the basic assumption that its specific collection of books already exists in the material world: in the homes and private collections of countless individuals. Some of the holdings of this vast and distributed library can become known and accessible through The Surplus Library site. The site develops as the library’s holdings and locations are registered by users.” [http://thesurpluslibrary.com/about].</ref><br />
<br />
<ref name="Dockray interview">See interview conducted by German artist Cornelia Sollfrank with Sean Dockray and Marcell Mars as part of her research project “Giving what you don’t have”, Postmedialab, Leuphana University, Lüneburg, 2012. http://artwarez.org/projects/GWYDH/.</ref><br />
<br />
<ref name="Marcell Mars">Marcell Mars, Manar Zarroug, and Tomislav Medak, End-to-End Catalog: Memory of the World, November 26, 2012, https:// www.memoryoftheworld.org/ end-to-end-catalog/.</ref><br />
<br />
<ref name="Public School">“The Public School was initiated in 2007 in Los Angeles in the basement of Telic Arts Exchange. The Public School is a school with no curriculum. It is not accredited, it does not give out degrees, and it has no affiliation with the public school system. It is a framework that supports autodidactic activities, operating under the assumption that everything is in everything.” See http://thepublicschool.org/la.</ref><br />
<br />
<br />
<br />
<ref name="Knowlton">Steven A. Knowlton, 'Three Decades since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings', in ''Cataloguing and Classification Quarterly 40.2'', 2005, p.xxx, http://scholar.princeton.edu/steven.a.knowlton/publications/three-decades-prejudices-and-antipathies-study-changes-library</ref><br />
<br />
<ref name="Drabinski1">Emily Drabinski, 'Teaching the Radical Catalog' in ''Radical Cataloging: Essays at the Front'', K.R. Roberto, Jefferson, N.C., McFarland, 2008, p.195.</ref><br />
<br />
<ref name="Olson1">Hope A. Olson, 'Sameness and Difference – A Cultural Foundation of Classification', in ''Library Resources & Technical Services'', Vol 45, No 3, Jul 2001, pp. 115-22, 115. http://dx.doi.org/10.5860/lrts.45n3.115</ref><br />
<br />
<ref name="Feminist Search Tool">https://feministsearchtool.nl/</ref><br />
<br />
<ref name="Library Underground">See also Eva Weinmayr, Library Underground - A reading list for a coming community, in Publishing as Artistic Practice, ed by Annette Gilbert, Sternberg Press 2016.</ref><br />
<br />
<ref name="SeeRed1"> Suzy Mackie and Pru Stevenson, founding members of See Red in a blog post <br />
http://www.seeredwomensworkshop.wordpress.com</ref><br />
<br />
<ref name="Jess Baines">See Jess Baines’ text “Free Radicals” about radical Print shops emerging in London in 1968, as DiY sites of political and community activism. Afterall, 28.1.2010<br />
http://www.afterall.org/online/radical.printmaking#.V8iDdmUWw20</ref><br />
<br />
or the Atelier Populaire, set up in the École des Beaux Arts in Paris in May 1968.<br />
<br />
<ref name="YesMen">New York Times Special Edition. See documentation New York Times Hoax - The Yes Men Fix The World https://www.youtube.com/watch?v=YoZQNgAnvqs. Interview with Steve Lambert in Fillip Magazine winter 2009: https://fillip.ca/content/best-case-scenario, and Steve Lambert website https://visitsteve.com/made/the-ny-times-special-edition/</ref><br />
<br />
<ref name="Perrault1">John Perrault, Some Thoughts on Books as Art, in Artists Books (1973: 15–21) quoted by Tony White in Book 2.0 in Volume 3 Number 2, 2013, page 168. doi: 10.1386/btwo.3.2.163_1</ref><br />
<br />
<ref name="Lippard1">Lucy R. Lippard, ‘The Artist’s Book Goes Public’, in Joan s (ed), Artists’ Books: a Critical Anthology and Sourcebook, Rochester, New York, Visual Studies Workshop Press, 1993, p.45.</ref><br />
<br />
<ref name="Kostelanetz1">Kostelanetz, originally published in “Exhaustive Parallel Intervals”, Future Press, 1979, reprinted in Joan s (ed), Artists’ Books: a Critical Anthology and Sourcebook, Rochester, New York, Visual Studies Workshop Press, 1993, p.13.</ref><br />
<br />
<ref name="Baldessari">John Baldessari for example writes in 1975: “I enjoy giving books I have made to others. Art seems pure for a moment and disconnected from money. And since a lot of people can own the book, nobody owns it. Every artist should have a cheap line. It keeps art ordinary and away from being overblown.” in Art-Rite (Anon. 1976/1977: 6) </ref><br />
<br />
<ref name="PMcall">ART RITE Magazine 11/12, winter/spring 1975/1976, p.3</ref><br />
<br />
<ref name="Lyons">Joan Lyons (ed), “Artists’ Books: a Critical Anthology and Sourcebook”, Rochester, New York, Visual Studies Workshop Press, 1993, p8.</ref><br />
<br />
<ref name="shops"> Printed Matter founded by Lucy Lippard, Sol Lewitt and… in xxxx, Franklin Furnace, Ulisses Carrion started “Other Books” in Amsterdam, AA Bronson started Art Metropole in Toronto in xxx. </ref><br />
<br />
<ref name="Ruscha">Ed Ruscha letter to John Wilcock, 25 February 1966, The Piracy Collection, London, the archives of Giorno Poetry Systems. Ed Ruscha’s 26 Gasoline Stations book is today traded for 20,000$. >Reference Abebooks:xx</ref><br />
<br />
<ref name="ERG1"> See proposed study rules [[http://wiki.evaweinmayr.com/images/c/cd/Erg_lereine_version270318.pdf here]]. [http://www.erg.be/m/#index/index École de Recherche Graphique, Brussles]</ref> <br />
</references></div>Cclhttp://wiki.evaweinmayr.com/index.php?title=3_Survey_of_the_field&diff=45473 Survey of the field2019-12-18T10:13:43Z<p>Ccl: /* Feminist Search Tool */</p>
<hr />
<div><br />
<span style="color: red> This isn't done yet</span><br />
==intro==<br />
This section provides a context for the contribution made by the research project as a whole. It does so by gathering a range of examples that are used to identify and delimit the general conditions of knowledge-practice with respect to the politics of publishing at the intersection of contemporary art, radical education and institutional analysis. The artistic examples and practices I will describe in the following are spread widely in terms of geography and history, and they are also drawn from a wide range of disciplinary frames. This wide field of sampling is informed by a commitment to work transversally and to not be bound by the protocols of one field alone – such as for example contemporary art or feminist organisational practices.<br />
<br />
On closer inspection, the practices I discuss all share two distinct features: They are discrete instances, where the dominant paradigms of publishing and the formation of knowledge have been in some way or another adjusted and they act as declared counter-political project. In sampling these arguably disparate practices I did not start with explicit criteria, instead through sampling I arrived at explicit criteria – that in turn helps me to name and delimit the context into which I am making a contribution.<br />
<br />
All the examples and practices described interfere in distinct critical ways with notions of authorship, editorial processes, design and production as well as distribution, but also with concepts of classifying, archiving and also reading publications. Overall this communality ties them together into a broader act of contesting power.<br />
<br />
The examples addressed are as follows: Early conceptual artists books, as a decentralisation of the art system by setting up own infrastructures of production and distribution; Second wave feminist publishing (See Red) as an example for collectivity as process of discovery and articulation; Interventions into existing publishing infrastructures such as Cildo Mereiless 'Insertions into ideological circuits' and the Yes Men. Radical Librarianship, such as aaaaarg.org and memoryofthe world.org, Kvinnsam at Gothenburg University and 'The Feminist Search Tool' at Utrecht University concerned with access, organisation, classification and validation of knowledge; and the work of the Radical Open Access Collective in the UK around open access and the ethics of care concerned with countering the calculative logic of metrification that permeates academic publishing.<br />
<br />
These examples are discussed in a broadly chronological sequence, however, it is not suggested that there is any developmental narrative here as such. Rather, these different examples provide a genealogy of concerns that help to locate the specific contribution of the current enquiry.<br />
<br />
<br />
the serving library<br />
<br />
==Early conceptual artist books: Setting up infrastructures of production and distribution (the 60s and 70s)==<br />
Artists' books at the time were arguably a means to circumvent established institutions and perhaps to a certain degree an attempt to reform the art system by: “(1) the use of inexpensive printing and production methods allowed anyone to be a publisher, (2) alternative distribution networks were ‘aiding in the decentralization of the art system …’, (3) this form of art was portable and disposable and (4) these works were, or could be, ‘democratic objects’”.<ref name="Perrault1" /> <ref name="Baldessari"/><br />
<br />
These artistic practices criticised the paradigms of the art market by avoiding the aura of preciousness, uniqueness by using mass production techniques such as commercial litho printing. In contrast to traditional, unique art objects “a book’s text is infinitely replicable, the number of copies that can be printed is theoretically limitless.”<ref name="Kostelanetz1" /><br />
<br />
Art theorist Lucy Lippard argues that the main reason the book has proved to be so attractive as an artistic medium has to do with the fact that artists’ books are ‘considered by many the easiest way out of the art world and into the heart of a broader audience’.<ref name="Lippard1" /> Lippard describes here the fundamental political potential of the artists' book as a conceptual and material means to question, intervene in and disturb existing practices and institutions.<br />
<br />
The challenge, however, was the setting up production and distribution systems, that provided an alternative way to circulate the books without falling back to exclusionary market mechanisms of the art system. Investigating whether artists could set up independent systems of circulation the editors of Art-Rite magazine put out a call:<br />
<br />
“Artists’ Books – We are investigating the possibilities of a publishing and distribution system for artists’ books. (This does not mean catalogues.) Do you have: a) already published books that we can distribute or sell on consignment? b) Completely planned, unpublished books with or without dummies? c) names of other artists who have either one? Let us know. Please send information to: PRINTED MATTER, 164 Mulberry St., NYC 10013.”<ref name="PMcall" /><br />
<br />
Due to their perceived potential to subvert the (commercial, profit-driven) gallery system and to politicise artistic practice - artist books according to Joan Lyons played an important part in the rise of independent art structures.<ref name="Lyons"/> Artists started to set up their own distribution infrastructures by founding independent artist book shops<ref name="shops" />, in an attempt to counter the hegemonic art gallery market –to a certain extent. This disclaimer is necessary, as history has shown, that artists books were prone to be easily recaptured by the system. Firstly because many artists at the time were relying on gallery representation and gallery distribution. And secondly, because the descriptor “artist book” implies, that we deal with an object, which can easily be recaptured by the market as a collectable. Ed Ruscha, for example, writes in a letter to John Wilcock, the founder of Village Voice in New York: “I made a terrible mistake by numbering my “26 Gasoline Stations” books, because then the books became a limited edition rather than just another book, which is what I am after”.<ref name="Ruscha" /><br />
<br />
==Terminologies and identity politics==<br />
<br />
The term artists' book is still widely in use, as the names of the 'New York Art Book Fair' (founded by A.A. Bronson/Printed Matter in 2004 [fact check]), "London Art Book Fair" (Whitechapel Art Gallery, London) evidence. However, for my inquiry into the social agency of publishing the term 'publishing' seems more useful. This new terminology suggests shifting the focus from the finished object to the process. This is being discussed in more detail in the chapter →'Confronting authorship, Constructing Practices'.<br />
<br />
However while the term "artists’ publishing" shifts the emphasis to the process it limits its applicability to authors, who define themselves as artists. Richard Kostelanetz writes in 1979 'One trouble with the current term artists’ books is that it defines a work of art by the initial profession (or education) of its author, rather than by qualities of the work itself. Since genuine critical categories are meant to define art of a particular kind, it is a false term. The art at hand is books no matter who did them; and it is differences among them, rather than in their authorship, that should comprise the stuff of critical discourse.' <ref name="Kostelanetz1"/>Due to the problematic of the author question in “artist’s publishing” the term ‘independent publishing’ and self-publishing has been introduced. Both terms are seeking to distance the practice from institutional or mainstream commercial publishing practices.<br />
<br />
This observation of authorship assigned to specific identities, professions or disciplines seems relevant for my inquiry and has been discussed and experimented with in a variety of forms. It comes up for instance in the discussion around the complexities of →[[#Topic Classification|classification]] and in the practice of →[[#5.4 Boxing and Unboxing|Boxing and Unboxing]].<br />
<br />
==Making Public: “Insertions into Ideological Circuits”==<br />
<br />
In his series of works “Insertions into Ideological Circuits” (1970) the Brazilian artist Cildo Mereiles infiltrated already existing infrastructures of circulation by screen printing anti war slogans on recyclable Coca Cola bottles, or rubber stamped critical questions about the dictatorship on one dollar bills to circulate them through many hands. Here the artist merely “piggy-bagged” on already existing infrastructures of circulation as carrier for his messages. In the same vein in November 2008 activists around the US prankster collective The Yes Men “hacked” the New York Times by printing a “special edition” of 80,000 copies, which was distributed for free to passers-by on the streets of several US cities. This special edition was a perfect replica of The New York Times. The activists co-opted the authority and visual appearance of the New York Times in order to circulate a visionary “best case scenario” with hypothetical headlines and articles, such as “Iraq War Ends”, “Minimum Wage Law Passes Congress”, USA Patriot Act Repealed”, All Public Universities to Be Free”. <ref name="YesMen" /><br />
<br />
==Dematerialisation of art, >>collaboration>>tranversal collective practices==<br />
Lucy R. Lippard, ed.. Six Years: The Dematerialization of the Art Object from<br />
1966 to 1972: A Cross-Reference Book of Information on Esthetic Boundaries (New<br />
York: Praeger, 1973).<br />
<br />
==Publishing as pedagogical, dialogical process==<br />
<br />
In the 60s and 70s political and feminist groups in a politicised climate of counter-information radical print-shops and collective screen print workshops (See Red) in London <ref name="Jess Baines" />, feminist magazines (Spare Rib), and a vivid feminist zine culture (Riot girrrls) developed in many cities across Europe and the US in order to raise awareness against inequality and discrimination. Rejecting the role of the artist these activists participated in a network of campaign groups, radical publishers and distributors. One could argue, that the focus here was less on concepts of format or material qualities of a publication, instead the poster, magazine, book were a means to an end, to agitate, to activate, to get the message out, to give voice, create solidarity and work collectively towards change.<br />
<br />
For the See Red feminist silkscreen poster collective, for example, which started in London in 1974 working collectively was central. “In the early days the posters were mainly produced about our own personal experiences as women, about the oppression of housework, childcare and the negative image of women. An idea for a poster would be discussed in the group, a member would work on a design, bring it back for comment, someone else might make changes and so on until the collective was satisfied with the end result; no one individually took the credit. This was a concept many in the art world found hard to accept: ‘who holds the pencil? Someone must hold the pencil!’” <ref name="SeeRed1"/> The collective of women got together to combat the negative image of the women in advertising and the media. Suzy Mackie and Pru Stevenson, founding members of the See Red Women’s Workshop stressed in a public talk at The Showroom in London how important it was to gather in person and generate ideas about how to visualise a particular issue that was important to them. It was the activity of articulating experiences and collective brainstorming and the discussion of ideas that led to sharp slogans and imagery for the posters.<br />
<br />
I understand from these self-descriptions, that the collective work on developing a slogan, an image for a poster was a collective process of discovery, a dialogical process which was facilitated through collective making. So when does the making public start? Around the working table?<br />
<br />
<br />
Example 2: <br />
Elise and Celestin Freinet purchase of a printing press for the classroom, elementary school in France (1926) to work in the classroom with students to produce own teaching material and textbooks. collective editing, peer review, school journal to be exchanged with other schools. Contextual publishing. School archive own classification system.<br />
<br />
==Radical Librarianship== <br />
<br />
===Questions of access and validation===<br />
<br />
Setting up self-organised libraries has become a field of practice for a range of artists and<br />
activists as a way to rethink the infrastructure of knowledge formation. Their practices<br />
can be described as creating a knowledge commons and as social and anarchist technique, which problematises the enclosure and privilege of knowledge in institutional libraries. <ref name="Library Underground" /><br />
<br />
Among the range of artists who have worked with libraries as part of their art practice, is, for example, Martha Rosler’s personal collection of books, which she lent to e-flux in order to create reading rooms in New York, and several cities across Europe open to the general public. This collection of books is curated by the artist and has been framed as artwork by an individual artist. While Rosler rejected the perception, that this exhibited library can be read as a kind of portrait of hers, it nonetheless focusses around her artist personality and lines of thinking. While it can be seen as a generous gesture to provide temporarily public access to a personal library, conceptually one could say it replicates the power structures of one individual deciding what goes in and is kept out.<br />
<br />
By comparison, a different and perhaps more community-building approach take various small libraries and reading rooms emerging in cities in Europe and the US in recent years. Often set up by artists or connected to newly emerging maker spaces, these small community-run libraries are informally organised and cater to the needs of local residents and various community groups living in the area. They are building on the tradition of collectively run infoshops or community archives arising in the 70s and 80s in the UK as part of social movements. They operated independently, not council-run or organisationally affiliated and were catering explicitly for the information (and other, social and cultural) needs of its users. (Atton 1999)<br />
<br />
===Shadow Libraries===<br />
In the same vein, the curatorial principle of online library projects by artists and activists, such as the peer-to-peer sharing platforms aaaaarg.fail or memoryoftheworld.org are starting from the idea “when everybody is a librarian, library is everywhere”. Both projects are digital platforms. They are open and non-theme based online repositories for sharing mostly theory texts, which are uploaded by the platforms’ users. Memory of the World, initiated and hosted by Marcell Mars states “The Public Library is first — free access to books for every member of society, second — a library catalogue, and third — a librarian. With books ready to be shared [online], meticulously catalogued, everyone is a librarian. When everyone is a librarian, the library is everywhere.” <ref name ="Marcell Mars"/> I will come back to the cataloguing aspect of such practice in the next paragraph. <br/><br />
monoskop, libgen, etc<br/><br />
By comparison, aaaaarg.fail comes from a slightly different angle. It is often understood solely as an open-source platform for freely sharing books but is actually born from a desire to share books with others in order to start a conversation. It developed from gatherings of the Public School, a self-organised educational project in Los Angeles, which started in 2007.<ref name="Public School"/> It was founded by Fiona Whitton and Sean Dockray. They felt that a curriculum always comes with an institutionalised agenda defining a prescribed canon of learning. In the Public School, people propose classes they want to take or want to teach and collaborate in exploring the proposed subjects together. <ref name="Dockray interview"/> Public School has been spreading to other cities such as Buenos Aires, Berlin, San Francisco, New York, Durham, Helsinki, London, Vienna among others. Aaaaarg.fail has become over the years a huge repository of theory texts and therefore a vital tool for artists, theorists and academics, who have not access to academic libraries or are not able to find the material in institutional repositories.<br />
<br />
Other practices likewise share the aim to counter institutional distribution monopolies and a wide range of online repositories have been built over the last two decades. However, these repositories differ in one crucial aspect from user-generated peer-to-peer platforms in that they are individually curated. Ubuweb, for example, is a highly controlled online archive for text, audio and video and curated by conceptual writer Kenneth Goldsmiths in New York. Monoskop, a private book collection turned into a public online archive run by Dusan Barok in Amsterdam. The Public Collectors online archive is curated and maintained by Marc Fisher in Chicago (Temporary Services).<ref name="Public Collectors"/> In contrast to these digital libraries Antonia Hirsch’s The Surplus Library on Affect & Economic Exchange instigates the lending of individually owned hardcopy books, mediated through an online platform, which indicates the location of the book to be lent from (mostly) private book collections.<ref name="Surplus" /><br />
<br />
While this second set of platforms operate as accessible repositories built through generous acts of critical archiving, they are not user run and are in most cases tightly connected to an individual (artist). The question and problem which has been addressed in recent activist discourse is to find ways how such infrastructures could be collectivised in order to secure the accessibility and usability of decades of content digitising and archiving for future generations.<br />
<br />
Historically libraries operated in two ways, as philanthropic institutions “providing access to knowledge for every member of the community” but equally as disciplinary institutions. Disciplinary, because only selected material has been validated as worthwhile being included and passed on. This creates a canon. It can be expanded and opened up to new entries and views, however, a library serving a white middle-class male readership gathers material for the white Western middle-class readership. If no topics are included, that serves a newly arrived immigrant community or the queer, trans, lesbian community, these groups won’t count as patrons. So, the question arises whether the library shapes its readership or the readers form the library. And how to escape this on-going self-reproducing mechanism?<br />
<br />
All the above-described practices share the concern of how to provide access to material, which is not collected by institutional libraries or archives or is tucked away in private collections. Implicit in the question of access is the question of finding, and therefore of organising, indexing and cataloguing.<br />
<br />
===Questions of organisation and classification===<br />
<br />
Classifying, indexing, summarising or key-wording is always an act of interpretation. It is a framing procedure, controlling how content will be found and interpreted. Melvil Dewey’s classification system for example, which has become a standard organising system in many public libraries worldwide has been criticised by his biographer as being based on “a patriarchal White Western (and, of course, Christian)” worldview. (Wiegand xxx)<br />
What is left out here is a whole range of alternative perspectives on humanity’s knowledge. (see detailed discussion: Weinmayr, Library Underground, p.166).<br />
<br />
'''Problem 1: Universal Language'''<br />
The radical library movement in the 70 and 80s was looking at such biases. In particular <br />
Sanford Berman’s study “Prejudices and Antipathies-A Tract on the Library of Congress Subject Heads Concerning People” (Berman 1971) revealed that Library of Congress subject headings, particularly those that are used to identify groups of people, perpetuate “the exclusionary cultural supremacy of the mainstream patriarchal, Euro-settler culture” (Olson 2000). In a word, many subject headings exhibit “bias”: that is, they use language that shows prejudice in favour of particular points of view, and against others.<br />
Berman’s study and critique actually resulted in changes in the LC catalogue: 64% of Berman’s suggested “remedies” have been implemented since the publication of his critique, but the 80 items, which remain unchanged show some patterns of thought pertaining to the Christian religion. <ref name="Knowlton"/> (Please watch the video Library Underground for a detailed discussion.) <br />
<br />
However cataloguing is not only controlling how specific content is framed, but it also determines whether content will be found at all. Internet search engines, for example, are the front door to the www. Google’s search algorithm can be easily adjusted, and search results manipulated according to specific interests.<br />
<br />
====KvinnSam, the National Resource Library for Gender Studies at Gothenburg University====<br />
developed a response to biased cataloguing. In 1958 three librarians at Gothenburg University library started collecting and cataloguing women literature, material about women struggle for suffrage and got aware that within the existing holdings was plenty of material relevant to women and gender struggle, but it was not catalogued as such. The relevant keywords were missing and therefore hard to find. The librarian started to establish a parallel keyword catalogue, analogue at the time, by indexing the already existing holdings of Gothenburg University library in order to make aspects of gender manifest and therefore searchable. Today, Kvinnsam is a digital keyword search catalogue which operates parallel to the standard search catalogue. It can be browsed in order to find specific material, that would not show up in the standard catalog.<br />
<br />
====Feminist Search Tool====<br />
Similar activism to question the architecture and implicit biases in the organisation of knowledge drives a group of contemporary artists, who are affiliated with the Read-in collective in Utrecht. Collaborating with the librarians at Utrecht University library they developed a Feminist Search Tool, which starts from the question: “Why are the authors of the books I read so white, so male, so Eurocentric?” <ref name="Feminist Search Tool"/> To answer this question they developed a digital interface, based on the library’s Marc21** fields, an international digital cataloguing standard (Machine-Readable Cataloguing), which aims to map the existing library records (from 2006-2016) applying different categories, such as race, gender, ethnicity, nationality, class. <br />
The digital interface invites the users to apply different categories to their search and maps the existing library records from 2006 – 2016 according to selected filters, such as the language of publication, place of publication, type of publisher, the gender of the author. <br />
The search results then map how many female non-Western authors and female authors of colour are represented and therefore reveal inclusion and exclusion mechanisms of our knowledge institutes. In contrast to KvinnSam search engine developed in Gothenburg, it is not a search engine for known-item search, delivery search, that is a search for a specific item for which either the authors or the title is known. Instead, th Feminist search tool operates as an “awareness-raising tool to stir conversations about the inclusion and exclusion mechanisms that are inherent to our current Western knowledge economy and our own complicities in (re)producing what is considered as ‘knowledge’ (and what is not).”<br />
As such this intervention is not be seen as a replacement for the UU library catalogue, “but a supplementary tool for any inquiring person to approach one’s own biases and taken for granted truths that one is reproducing whilst studying and researching”.<ref name="Feminist Search Tool"/> {{Annotation| Annotation_Test}}<br />
<br />
====Infrastructural Manoevres, Rietveld Library Amsterdam====<br />
<br />
====Radical Librarianship / Teaching The Radical Catalog====<br />
<br />
A large body of research has documented biases of gender, sexuality, age, class, ethnicity, language and religion in the construction of a universal language in the naming of information for retrieval. This universal language uses a controlled vocabulary to represent documents. It limits diversity and has a direct practical impact on the reader searching for materials outside of a traditional mainstream, materials crossing disciplines or marginalised topics. This controlled vocabulary appears unbiased and universally applicable - but it actually hides its exclusions under the guise of neutrality. According to library scholar and teacher, Emily Drabinski “classification schemes are socially produced and embedded structures. They are products of human labor that carry traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them. [...] We cannot do a classification scheme objectively; it is the nature of subject analysis to be subjective.” <ref name="Drabinski1"/><br />
<br />
'''Problem 2: Hierarchical Structure, Fixity'''<br />
<br />
Library activists such as Berman, whose suggested remedies to the LC subject headings, such as the elimination of the conspicuous racist “Yellow Peril” in 1989, has called attention to the hegemonic nature of classification. However, as Drabinski argues, while he is struggling to change the thesaurus he leaves the structural problems untouched. And according to Drabinski Berman’s approach actually presupposes, that there is some “right” language, that could be universally understood and applied.” But the politics of language is virtually always contested. “And the struggle for a universal “correct” language does not account for the ways in which language is inherently political and contextual.” Language and descriptors are also in motion when it comes to shifting identities….<br />
<br />
[indigenous classifications…]<br />
<br />
Therefore critical feminist libraries developed contextual, local classifications, which are user-centred for particular collections, or put effort, funds and energy in developing a user-centred classification for particular collections, such as the Glasgow Women Library and The Feminist Library in London. It is the critical engagement with the catalogue and its architecture, which is at stake. Not uncritically taking the classification for granted “as though it were a natural landscape rather than a well-manicured lawn that is the product of intellectual labor”. <ref name="Olson1"/><br />
<br />
[Drabinski 'Teaching the Radical Catalog': Alongside revising the library catalogue: a method would be to teach its implicit contestations and biases... more]<br />
<br />
These contestations around subject classification relate mainly to physical libraries. In online repositories, the introduction of full-text search and keywords help to a certain extent to overcome the problem. To a certain extent, because the interfaces provide a limited structure for Metadata, as we will see further below.<br />
<br />
====Performative Propositions: Policy Document at ERG====<br />
In early 2018, a group of students and staff at École de Récherche Graphique in Brussels circulated a policy document "Proposals for amendment to be made regarding the study rules".<ref name="ERG1"/> Article 2 in this document refers to library policies:<br />
::"When the author identifies himself as the cis-type, heterosexual and white man, the books will be moved within the archives to recall, on the one hand, that this is one point of view among others. On the other hand, that the latter is hegemonic. A warning page will have to be included in each book when the readers will wish to consult the said works. Strict quotas will be put in place regarding the selection of the books represented. Attention will be paid to both subjects, the writing context and the authors." The topics under quota to be represented list: gender issues, queer issues, feminism, afro-feminism, trans-feminism, xeno-feminism, intersectional feminism, ecofeminism, eco-sexualite, LGBT, LGBTQQ I2SPAA+." <br />
<br />
This policy document, sounding radical and almost utopian in its dramatic propositions, makes us pay attention to the fact, that authors who became part of the published canon speak from particular vantage points. The differences of authorial perspective need to be acknowledged and not swept under the carpet of universality and neutrality. <br />
<br />
In an even bolder step article 3 in the same document proposes, therefore, to relate the payment of tuition fees to privilege. For this, a catalogue of ten criteria is drawn up: male, heterosexual, cis-gender, white, standard body, valid (valide), well-read, middle-class and bourgeois, carnivorous, human. If a student's profile, for instance, ticks three out of ten boxes (3/10), this coefficient will be applied in two ways: The percentage - in the example 30 per cent - is added to tuition fees and other expenses, such as prices at the coffee machine, for photocopies and other materials. But the percentage will also be deducted as "penalty" from achieved points in the academic evaluation and jury assessments. Apparently the policies described are so far only proposed, as its implementation, in reality, would amount to negative discrimination which is illegal in most European countries. <br />
<br />
However such propositions can be performative: When I travelled to Brussels, visiting ERG in summer 2018, to talk to the document's authors, they explained – not without blurting out a giggle – how much this proposition already had stirred up day-to-day assumptions on privileges and social background at their art school. The document was posted on the walls of the art school, as well as emailed to staff members and students. Taking in the suggested rules appealed to any staff member to consider, name, acknowledge and eventually unlearn their own privileges, I was told.<br />
<br />
==Dissemination: Digital Turn / Open Access==<br />
<br />
Can current academic publishing ecosystem learn from experimental artistic and feminist publishing practices? How can these experimental interventions potentially reform inequalities, streamlining and metrication of academic publishing? The call for publicly funded research at universities to be published open access shifts the major part of research outputs into the digital realm. <br />
<br />
*radical open access as potential to transform the structures of institutional authority and legitimacy?. <br />
*building of commons-based open access publishing infrastructures for promoting a more diverse, not-for-profit eco-system of scholarly communication<br />
*values that underpin many of the radical open access community’s experiments in open publishing<br />
*Problem: OA complicit with neoliberalism’s audit culture of evaluation, measurement, impact and accountability. Open Access arguably has become a “mandate”, a top-down requirement rather than a bottom-up scholar-led movement for change. <br />
*experiments reclaiming open access from corporate take over (APC - Gold Model, Elsevier & co)<br />
*exploring how an ethics of care can help to counter the calculative logic (metrification) that permeates academic publishing. (Mattering Press) <br />
*alt metrics - gaming the system (Marina Frantzen & Punctum Press) <br />
*“Higher education has a culture problem that is at once historical, structural, and interpersonal”– To confront the toxic culture of higher education HuMetricsHSS Initiative propose a value-based “metric” framework around values such as equity, openness, collegiality, quality, and community, which not only functions as a checkpoint for self-reflection, but also as a starting point for better academic practices and outputs. (Christopher Long, HuMetricsHSS Initiative Michigan State University)<br />
*Making publishing more diverse and equitable – geographically, but also with respect to issues of class, race, ethnicity, gender and sexuality<br />
*Nurturing new and historically under-represented cultures of knowledge – those associated with early career, precariously employed and para-academics, or located outside the global North and West?<br />
*ethical academic publishing: how to ensure everyone is able to have a voice – particularly those writing on niche or avant-garde topics or who are conducting hybrid, multimodal, post-literary forms of research, and who are currently underserved by our profit-focused commercial publishing system. <br />
*understanding publishing very much as a complex, multi-agential, relational practice <br />
*What is the potential of new forms of “open cooperativism” in which organisations commit themselves “structurally and legally to the production of common goods (the common good, the commons)”? (Bauwens 2016) <br />
*Coventry University’s Centre for Disruptive Media (CDM) and the Disruptive Media Learning Lab (DMLL): How is media practice disruptive of and re-performing the way we do scholarly communication and education? How can the Journal of Media Practice reconfigure (the politics of) its own practice? What should a disruptive ‘journal’ of media practice look / sound / feel like?<br />
*Can open access and open source transform the institution of the university itself?<br />
<br />
<br />
[Here to be inserted: Closing section paragraph that distills the main concerns from the examples and lead to the next section,ie my experiments.]<br />
<br />
<br />
<br />
==Notes (State of the art in this domain, survey of the field)==<br />
<references><br />
<ref name="Public Collectors">Self-description: “Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public. Public Collectors features informal agreements where collectors allow the contents of their collection to be published or exhibited, and permit those who are curious to directly experience the objects in person. Collectors can be based in any geographic location.” http://www.publiccollectors.org/</ref><br />
<br />
<ref name="Surplus">Self-description: “In redefining the concept of a physical library, the Surplus Library on Affect & Economic Exchange operates on the basic assumption that its specific collection of books already exists in the material world: in the homes and private collections of countless individuals. Some of the holdings of this vast and distributed library can become known and accessible through The Surplus Library site. The site develops as the library’s holdings and locations are registered by users.” [http://thesurpluslibrary.com/about].</ref><br />
<br />
<ref name="Dockray interview">See interview conducted by German artist Cornelia Sollfrank with Sean Dockray and Marcell Mars as part of her research project “Giving what you don’t have”, Postmedialab, Leuphana University, Lüneburg, 2012. http://artwarez.org/projects/GWYDH/.</ref><br />
<br />
<ref name="Marcell Mars">Marcell Mars, Manar Zarroug, and Tomislav Medak, End-to-End Catalog: Memory of the World, November 26, 2012, https:// www.memoryoftheworld.org/ end-to-end-catalog/.</ref><br />
<br />
<ref name="Public School">“The Public School was initiated in 2007 in Los Angeles in the basement of Telic Arts Exchange. The Public School is a school with no curriculum. It is not accredited, it does not give out degrees, and it has no affiliation with the public school system. It is a framework that supports autodidactic activities, operating under the assumption that everything is in everything.” See http://thepublicschool.org/la.</ref><br />
<br />
<br />
<br />
<ref name="Knowlton">Steven A. Knowlton, 'Three Decades since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings', in ''Cataloguing and Classification Quarterly 40.2'', 2005, p.xxx, http://scholar.princeton.edu/steven.a.knowlton/publications/three-decades-prejudices-and-antipathies-study-changes-library</ref><br />
<br />
<ref name="Drabinski1">Emily Drabinski, 'Teaching the Radical Catalog' in ''Radical Cataloging: Essays at the Front'', K.R. Roberto, Jefferson, N.C., McFarland, 2008, p.195.</ref><br />
<br />
<ref name="Olson1">Hope A. Olson, 'Sameness and Difference – A Cultural Foundation of Classification', in ''Library Resources & Technical Services'', Vol 45, No 3, Jul 2001, pp. 115-22, 115. http://dx.doi.org/10.5860/lrts.45n3.115</ref><br />
<br />
<ref name="Feminist Search Tool">https://feministsearchtool.nl/</ref><br />
<br />
<ref name="Library Underground">See also Eva Weinmayr, Library Underground - A reading list for a coming community, in Publishing as Artistic Practice, ed by Annette Gilbert, Sternberg Press 2016.</ref><br />
<br />
<ref name="SeeRed1"> Suzy Mackie and Pru Stevenson, founding members of See Red in a blog post <br />
http://www.seeredwomensworkshop.wordpress.com</ref><br />
<br />
<ref name="Jess Baines">See Jess Baines’ text “Free Radicals” about radical Print shops emerging in London in 1968, as DiY sites of political and community activism. Afterall, 28.1.2010<br />
http://www.afterall.org/online/radical.printmaking#.V8iDdmUWw20</ref><br />
<br />
or the Atelier Populaire, set up in the École des Beaux Arts in Paris in May 1968.<br />
<br />
<ref name="YesMen">New York Times Special Edition. See documentation New York Times Hoax - The Yes Men Fix The World https://www.youtube.com/watch?v=YoZQNgAnvqs. Interview with Steve Lambert in Fillip Magazine winter 2009: https://fillip.ca/content/best-case-scenario, and Steve Lambert website https://visitsteve.com/made/the-ny-times-special-edition/</ref><br />
<br />
<ref name="Perrault1">John Perrault, Some Thoughts on Books as Art, in Artists Books (1973: 15–21) quoted by Tony White in Book 2.0 in Volume 3 Number 2, 2013, page 168. doi: 10.1386/btwo.3.2.163_1</ref><br />
<br />
<ref name="Lippard1">Lucy R. Lippard, ‘The Artist’s Book Goes Public’, in Joan s (ed), Artists’ Books: a Critical Anthology and Sourcebook, Rochester, New York, Visual Studies Workshop Press, 1993, p.45.</ref><br />
<br />
<ref name="Kostelanetz1">Kostelanetz, originally published in “Exhaustive Parallel Intervals”, Future Press, 1979, reprinted in Joan s (ed), Artists’ Books: a Critical Anthology and Sourcebook, Rochester, New York, Visual Studies Workshop Press, 1993, p.13.</ref><br />
<br />
<ref name="Baldessari">John Baldessari for example writes in 1975: “I enjoy giving books I have made to others. Art seems pure for a moment and disconnected from money. And since a lot of people can own the book, nobody owns it. Every artist should have a cheap line. It keeps art ordinary and away from being overblown.” in Art-Rite (Anon. 1976/1977: 6) </ref><br />
<br />
<ref name="PMcall">ART RITE Magazine 11/12, winter/spring 1975/1976, p.3</ref><br />
<br />
<ref name="Lyons">Joan Lyons (ed), “Artists’ Books: a Critical Anthology and Sourcebook”, Rochester, New York, Visual Studies Workshop Press, 1993, p8.</ref><br />
<br />
<ref name="shops"> Printed Matter founded by Lucy Lippard, Sol Lewitt and… in xxxx, Franklin Furnace, Ulisses Carrion started “Other Books” in Amsterdam, AA Bronson started Art Metropole in Toronto in xxx. </ref><br />
<br />
<ref name="Ruscha">Ed Ruscha letter to John Wilcock, 25 February 1966, The Piracy Collection, London, the archives of Giorno Poetry Systems. Ed Ruscha’s 26 Gasoline Stations book is today traded for 20,000$. >Reference Abebooks:xx</ref><br />
<br />
<ref name="ERG1"> See proposed study rules [[http://wiki.evaweinmayr.com/images/c/cd/Erg_lereine_version270318.pdf here]]. [http://www.erg.be/m/#index/index École de Recherche Graphique, Brussles]</ref> <br />
</references></div>Cclhttp://wiki.evaweinmayr.com/index.php?title=MediaWiki:Common.css&diff=4546MediaWiki:Common.css2019-12-18T10:12:51Z<p>Ccl: </p>
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}</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation_Content&diff=4545Template:Annotation Content2019-12-18T10:11:45Z<p>Ccl: </p>
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<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
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}}<br />
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</noinclude><includeonly>{{{Annotation Content|}}}<br />
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Annotators: {{#arraymap:{{{Annotator| }}}|,|x|[[Annotator::x]] | }}<br />
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[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation&diff=4544Template:Annotation2019-12-18T10:10:58Z<p>Ccl: </p>
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<div><noinclude><br />
This is the "Annotation" template.<br />
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<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
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}}<br />
</pre><br />
But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
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Edit the page to see the template text.<br />
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</noinclude><includeonly>{{{Annotation Content|}}}<br />
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[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation_Content&diff=4542Template:Annotation Content2019-12-18T10:09:37Z<p>Ccl: </p>
<hr />
<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
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}}<br />
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But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
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Edit the page to see the template text.<br />
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[[Annotation Location::{{{Annotation Location| }}}| ]]<br />
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<hr />
<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
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}}<br />
</pre><br />
But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
<br />
Edit the page to see the template text.<br />
<br />
</noinclude><includeonly>{{{Annotation Content|}}}<br />
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[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation_Content&diff=4540Template:Annotation Content2019-12-18T10:05:57Z<p>Ccl: </p>
<hr />
<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
|Author=AUTHOR<br />
}}<br />
</pre><br />
But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
<br />
Edit the page to see the template text.<br />
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</noinclude><includeonly>{{{Annotation Content|}}}<br />
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Annotators:{{#arraymap:{{{Annotator| }}}|,|x|[[Annotator::x]]| | }}<br />
[[Annotation Location::{{{Annotation Location| }}}| ]]<br />
<br />
[[Category:Annotations]]<br />
</includeonly><br />
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[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation_Content&diff=4539Template:Annotation Content2019-12-18T10:02:42Z<p>Ccl: </p>
<hr />
<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
|Author=AUTHOR<br />
}}<br />
</pre><br />
But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
<br />
Edit the page to see the template text.<br />
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</noinclude><includeonly>{{{Annotation Content|}}}<br />
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[[Annotation Location::{{{Annotation Location| }}}]]<br />
<br />
[[Category:Annotations]]<br />
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[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation_Content&diff=4537Template:Annotation Content2019-12-18T09:55:15Z<p>Ccl: </p>
<hr />
<div>{{#default_form:Annotation}}<br />
<br />
<noinclude><br />
This is the "Annotation_Content" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation_Content<br />
|Annotation Content=ANNOTATION-TEXT<br />
|Annotation Anchor=ANNOTATION-ANCHOR<br />
|Author=AUTHOR<br />
}}<br />
</pre><br />
But it is not used by us directly in this way. We use it in the [[Form:Annotation]] form, to add some properties and categories to the annotation.<br />
<br />
Edit the page to see the template text.<br />
<br />
</noinclude><includeonly>{{{Annotation Content|}}}<br />
<br />
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[[Annotation Location::{{{Annotation Location| }}}]]<br />
<br />
[[Category:Annotations]]<br />
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<br />
[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Form:Annotation&diff=4536Form:Annotation2019-12-18T09:54:40Z<p>Ccl: </p>
<hr />
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This is the "Annotation" form.<br />
To create a page with this form, enter the page name below;<br />
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__NOTOC__<br />
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=Where=<br />
This is the page in which the annotation will be included.<br />
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Who wrote this annotation?<br />
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<hr />
<div><noinclude><br />
This is the "Interlink" template.<br />
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<pre><br />
{{Interlink|LINK|LINKTEXT}}<br />
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<hr />
<div><noinclude><br />
This is the "Outerlink" template.<br />
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{{Outerlink|LINK|LINKTEXT}}<br />
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Edit the page to see the template text.<br />
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<span style="color:red;">Note: Be careful with using spaces! It only workes without spaces in between the "|" and the texts.</span><br />
</noinclude><includeonly><span class="interlink">⟶ &nbsp;[{{{1|}}} {{{2|}}}]</span></includeonly><br />
[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Outerlink&diff=4532Template:Outerlink2019-12-18T09:47:54Z<p>Ccl: Created page with "<noinclude> This is the "Outerlink" template. It should be called in the following format: <pre> {{Outerlink|LINK|LINKTEXT}} </pre> Edit the page to see the template text. <s..."</p>
<hr />
<div><noinclude><br />
This is the "Outerlink" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Outerlink|LINK|LINKTEXT}}<br />
</pre><br />
Edit the page to see the template text.<br />
<br />
<span style="color:red;">Note: Be careful with using spaces! It only workes without spaces in between the "|" and the texts.</span><br />
</noinclude><includeonly><span class="interlink">⟶ &nbsp;[{{{1|}}} {{{2|}}}]</span></includeonly><br />
[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Interlink&diff=4531Template:Interlink2019-12-18T09:47:33Z<p>Ccl: Created page with "<noinclude> This is the "Interlink" template. It should be called in the following format: <pre> {{Interlink|LINK|LINKTEXT}} </pre> Edit the page to see the template text. </n..."</p>
<hr />
<div><noinclude><br />
This is the "Interlink" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Interlink|LINK|LINKTEXT}}<br />
</pre><br />
Edit the page to see the template text.<br />
</noinclude><includeonly><span class="interlink">⟶ &nbsp;[[{{{1|}}}|{{{2|}}}]]</span></includeonly><br />
[[Category:Template]]</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Annotations&diff=4529Annotations2019-12-18T09:46:52Z<p>Ccl: Created page with "{{#forminput:form=Annotation}} {{#ask: Category:Projects |?Annotator |?Annotation }} =Pages that are recently created= {{:Special:NewPages/10,hidecategorization=true}}"</p>
<hr />
<div>{{#forminput:form=Annotation}}<br />
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{{#ask:<br />
[[Category:Projects]]<br />
|?Annotator<br />
|?Annotation<br />
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{{:Special:NewPages/10,hidecategorization=true}}</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=MediaWiki:Sidebar&diff=4528MediaWiki:Sidebar2019-12-18T09:46:30Z<p>Ccl: </p>
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<div><br />
* navigation<br />
** mainpage|Contents<br />
** About this wiki | About this wiki<br />
** Introduction |1 Introduction<br />
** Survey of the field |2 Survey of the field<br />
** Summary of projects and submitted material |3 Summary of projects and submitted material<br />
** AND Publishing |3.1 AND Publishing<br />
** Library of Inclusions and Omissions|3.2 Library of Inclusions and Omissions<br />
** The Piracy Project|3.3 The Piracy Project<br />
** Let's Mobilise: What is Feminist Pedagogy? |3.4 Let's Mobilise: What is Feminist Pedagogy?<br />
** Boxing and Unboxing |3.5 Boxing and Unboxing<br />
** Reflection, theorisation of projects |4 Reflection, Theorisation of projects<br />
** Analysis |5 Analysis<br />
** References |6 References<br />
** Appendix | 7 Appendix<br />
** Former Main Page | Former Main Page<br />
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** Annotations|Annotations area<br />
** Colophon|Colophon<br />
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** Template:Outerlink|Outerlinks<br />
** recentchanges-url|recentchanges<br />
** helppage|help<br />
* SEARCH<br />
* TOOLBOX<br />
* LANGUAGES</div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation&diff=4527Template:Annotation2019-12-18T09:45:20Z<p>Ccl: </p>
<hr />
<div><noinclude><br />
This is the "Annotation" template.<br />
It should be called in the following format after the sentence/paragraph/image where you would like to add the annotation:<br />
<pre><br />
{{Annotation|TITLE OF THE ANNOTATION PAGE}}<br />
</pre><br />
Edit the page to see the template text.<br />
[[Category:Templates]]<br />
</noinclude><includeonly><span class="annotation-icon">[[File:Speechbubble.png|18px|link=]]</span><br />
<div class="annotation-text">{{:{{{1}}}}}</div>[[Annotation::{{{1}}}|]]</includeonly></div>Cclhttp://wiki.evaweinmayr.com/index.php?title=Template:Annotation&diff=4526Template:Annotation2019-12-18T09:44:29Z<p>Ccl: </p>
<hr />
<div><noinclude><br />
This is the "Annotation" template.<br />
It should be called in the following format:<br />
<pre><br />
{{Annotation|TITLE OF THE ANNOTATION PAGE}}<br />
</pre><br />
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<div>== Summary ==<br />
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<hr />
<div>* [[Introduction | Introduction]]<br />
* [[Survey_of_the_field | Survey of the Field]]<br />
** [[Survey_of_the_field#intro | intro]]<br />
** [[Survey_of_the_field#Early_conceptual_artist_books:_Setting_up_infrastructures_of_production_and_distribution_.28the_60s_and_70s.29 | Early conceptual artist books: Setting up infrastructures of production and distribution (the 60s and 70s)]]<br />
** [[Survey_of_the_field#Terminologies_and_identity_politics | Terminologies and identity politics]]<br />
** [[Survey_of_the_field#Making_Public:_.E2.80.9CInsertions_into_Ideological_Circuits.E2.80.9D | Making Public: “Insertions into Ideological Circuits”]]<br />
** [[Survey_of_the_field#Dematerialisation_of_art.2C_.3E.3Ecollaboration.3E.3Etranversal_collective_practices | Dematerialisation of art, >>collaboration>>tranversal collective practices]]<br />
** [[Survey_of_the_field#Publishing_as_pedagogical.2C_dialogical_process | Publishing as pedagogical, dialogical process]]<br />
** [[Survey_of_the_field#Radical_Librarianship | Radical Librarianship]]<br />
*** [[Survey_of_the_field#Questions_of_access_and_validation | Questions of access and validation]]<br />
*** [[Survey_of_the_field#Questions_of_organisation_and_classification | Questions of organisation and classification]]<br />
**** [[Survey_of_the_field#KvinnSam.2C_the_National_Resource_Library_for_Gender_Studies_at_Gothenburg_University | KvinnSam, the National Resource Library for Gender Studies at Gothenburg University]]<br />
**** [[Survey_of_the_field#Feminist_Search_Tool | Feminist Search Tool]]<br />
**** [[Survey_of_the_field#Infrastructural_Manoevres.2C_Rietveld_Library_Amsterdam | Infrastructural Manoevres, Rietveld Library Amsterdam]]<br />
**** [[Survey_of_the_field#Radical_Librarianship_.2F_Teaching_The_Radical_Catalog | Radical Librarianship / Teaching The Radical Catalog]]<br />
**** [[Survey_of_the_field#Performative_Propositions:_Policy_Document_at_ERG | Performative Propositions: Policy Document at ERG]]<br />
* [[Summary_of_projects_and_submitted_material | Summary of projects and submitted material]]<br />
** [[Summary_of_projects_and_submitted_material#Intro | Intro]]<br />
** [[Summary_of_projects_and_submitted_material#Projects | Projects]]<br />
*** [[Summary_of_projects_and_submitted_material#AND_Publishing_.E2.80.93_with_Rosalie_Schweiker_and_multiple_collaborators_.282009_.E2.80.93_ongoing.29 | AND Publishing – with Rosalie Schweiker and multiple collaborators (2009 – ongoing)]]<br />
*** [[Summary_of_projects_and_submitted_material#Library_of_Inclusions_and_Omissions_.282016.E2.80.93ongoing.29 | Library of Inclusions and Omissions (2016 – ongoing)]]<br />
*** [[Summary_of_projects_and_submitted_material#The_Piracy_Project_.E2.80.93_with_Andrea_Francke_and_multiple_collaborators_.282010.E2.80.932015.29 | The Piracy Project – with Andrea Francke and multiple collaborators (2010 – 2015)]]<br />
*** [[Summary_of_projects_and_submitted_material#Let.27s_Mobilise:_What_is_Feminist_Pedagogy.3F_three-day_mobilisation_and_workbook_.E2.80.93_with_feminist_pedagogy_working_group.2C_Valand_Academy.2C_University_of_Gothenburg_.282015.E2.80.932016.29 | Let's Mobilise: What is Feminist Pedagogy? three-day mobilisation and workbook – with feminist pedagogy working group, Valand Academy, University of Gothenburg (2015 – 2016)]]<br />
*** [[Summary_of_projects_and_submitted_material#Boxing_and_Unboxing.2C_Research_Residency.2C_MarabouParken_Konsthall.2C_Stockholm_.E2.80.93_with_Rosalie_Schweiker_.28April_.E2.80.93_August_2018.29 | Boxing and Unboxing, Research Residency, MarabouParken Konsthall, Stockholm – with Rosalie Schweiker (April – August 2018)]]<br />
** [[Summary_of_projects_and_submitted_material#Published_.28Fixed.29 | Published (Fixed)]]<br />
*** [[Summary_of_projects_and_submitted_material#Against_Immunisation:_Boxing_as_a_Technique_for_Commoning_.28exhibition.2C_score.29_Panke_Gallery.2C_Berlin.2C_21_September_.E2.80.93_12_October_2019 | Against Immunisation: Boxing as a Technique for Commoning (exhibition, score) Panke Gallery, Berlin, 21 September – 12 October 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Micropolitics_of_Publishing_.28video_interview.29.2C_15_September_2018 | Micropolitics of Publishing (video interview), 15 September 2018]]<br />
*** [[Summary_of_projects_and_submitted_material#Confronting_Authorship.2C_Constructing_Practices_.E2.80.93_How_copyright_destroys_collective_practice_.28book_chapter.29 | Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#More_Verb.2C_Less_Noun_-_Publishing_as_Collective_Practice_.28printed_interview.29 | More Verb, Less Noun - Publishing as Collective Practice (printed interview)]]<br />
*** [[Summary_of_projects_and_submitted_material#One_publishes_to_find_comrades_.28book_chapter.29 | One publishes to find comrades (book chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#UND_statt_ODER_.E2.80.93_die_Anatomie_von_UND_.28interview.29 | UND statt ODER – die Anatomie von UND (interview)]]<br />
*** [[Summary_of_projects_and_submitted_material#Radical_publishing_practices_ask_for_radical_librarianship.5D_.28twitter_thread.29 | Radical publishing practices ask for radical librarianship] (twitter thread)]]<br />
*** [[Summary_of_projects_and_submitted_material#Dear_Hannah_.28pamphlet.29 | Dear Hannah (pamphlet)]]<br />
*** [[Summary_of_projects_and_submitted_material#Library_Underground_.E2.80.93_a_reading_list_for_a_coming_community_.28book_chapter.29 | Library Underground – a reading list for a coming community (book chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#Library_Underground_.E2.80.93_welcome_to_my_tent_.28performative_reading.2Fvideo.29 | Library Underground – welcome to my tent (performative reading/video)]]<br />
*** [[Summary_of_projects_and_submitted_material#We_don.27t_want_this_to_become_an_exhibit_.28book_chapter.29 | We don't want this to become an exhibit (book chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#The_Impermanent_Book.2C_co-authored_with_Andrea_Francke_.28essay.29 | The Impermanent Book, co-authored with Andrea Francke (essay)]]<br />
*** [[Summary_of_projects_and_submitted_material#Outside_the_Page.2C_Making_Social_Realities_With_Books_.28chapter.29 | Outside the Page, Making Social Realities With Books (chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#Let.27s_Mobilise:_Revisited_.28working_title.29_.28chapter.29 | Let's Mobilise: Revisited (working title) (chapter)]]<br />
*** [[Summary_of_projects_and_submitted_material#Help.21_David_Cameron_Likes_my_Art_.28book_chapter.29 | Help! David Cameron Likes my Art (book chapter)]]<br />
** [[Summary_of_projects_and_submitted_material#Discursive_.E2.80.93_teaching.2C_workshops.2C_presentations.2C_discussions.2C_think-ins_.28Unfixed.29 | Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)]]<br />
*** [[Summary_of_projects_and_submitted_material#Moments_of_Autonomy._Feminist_educational_practices_for_the_digital_commons_.28think-in.29_at_Open_Scores_-_How_to_program_the_Commons.2C_convened_by_Creating_Commons.2C_Panke_Gallery.2C_Berlin.2C_12_October_2019 | Moments of Autonomy. Feminist educational practices for the digital commons (think-in) at ''Open Scores - How to program the Commons'', convened by ''Creating Commons'', Panke Gallery, Berlin, 12 October 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Situated_Collective_Authorship_.28propositive_input.29at_Authors_of_The_Future:_Re-imagining_Copyleft_Studyday.2C_Constant.2C_Brussels_hosted_by_ISELP_.28Institut_Sup.C3.A9rieur_pour_l.E2.80.99.C3.89tude_du_Langage_Plastique.29_Brussels.2C_27_September_2019 | Situated Collective Authorship (propositive input) at ''Authors of The Future: Re-imagining Copyleft'' Studyday, Constant, Brussels hosted by ISELP (Institut Supérieur pour l’Étude du Langage Plastique) Brussels, 27 September 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Library_Talks.2C_Rietveld_Academy_Amsterdam.2C_24_September_2019 | Library Talks, Rietveld Academy Amsterdam, 24 September 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Interfacing_the_Law_.28workshop.29_Constant_Brussels_.26_XPUB.2C_Piet_Zwart_Institute_Rotterdam.2C_Infrastructural_Man.C5.93uvres.2C_Rietveld_Library_.28Amsterdam.29_9-10_May_2019 | Interfacing the Law (workshop) Constant Brussels & XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres, Rietveld Library (Amsterdam) 9-10 May 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Experimental_Publishing_.231.2C_Critique.2C_Intervention.2C_Speculation_.28symposium.29_Centre_for_Postdigital_Cultures.2C_Postoffice.2C_Coventry_University.2C_11_April_2019 | Experimental Publishing #1, Critique, Intervention, Speculation (symposium) Centre for Postdigital Cultures, Postoffice, Coventry University, 11 April 2019]]<br />
*** [[Summary_of_projects_and_submitted_material#Creating_Commons.2C_Tools_and_Infrastructures_.28research_meeting.29_HeK_.28House_of_Electronic_Arts.2C_Basel_13.-16._September_2018 | Creating Commons, Tools and Infrastructures (research meeting) HeK (House of Electronic Arts, Basel 13.-16. September 2018]]<br />
*** [[Summary_of_projects_and_submitted_material#Writer_X_.28workshop_with_Eleanor_Vonne_Brown.29_X_Publishing_School.2C_Whitechapel_Art_Gallery_London.2C_8_Sept_2018 | Writer X (workshop with Eleanor Vonne Brown) ''X Publishing School'', Whitechapel Art Gallery London, 8 Sept 2018]]<br />
*** [[Summary_of_projects_and_submitted_material#Feminist_Arts_Education.2C_Institute_for_Art_and_Art_Theory.2C_Intermedia_.2F_Artistic_Media_Practice_and_Theory.2C_Cologne_University.2C_2017_.28talk_and_workshop_with_Rose_Borthwick.29 | Feminist Arts Education, Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University, 2017 (talk and workshop with Rose Borthwick)]]<br />
*** [[Summary_of_projects_and_submitted_material#Reading_Gendered_Words.2C_at_Library_Interventions_.28workshop_with_Rosalie_Schweiker.29Leeds_College_of_Art.2C_April_2017 | Reading Gendered Words, at ''Library Interventions'' (workshop with Rosalie Schweiker)Leeds College of Art, April 2017]]<br />
*** [[Summary_of_projects_and_submitted_material#Library_Underground_at_Miss_Read_.28performative_reading.29_Akademie_der_K.C3.BCnste_Berlin.2C_2016 | Library Underground at ''Miss Read'' (performative reading) Akademie der Künste Berlin, 2016]]<br />
*** [[Summary_of_projects_and_submitted_material#Exploiting_Justice.2C_Symposium.2C_Centre_for_Interdisciplinary_Gender_Research.2C_University_of_Gothenburg.2C_2016_.28presentation.29 | Exploiting Justice, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016 (presentation)]]<br />
*** [[Summary_of_projects_and_submitted_material#What_is_an_Artschool.2C_Chelsea_College_of_Art.2C_London.2C_2016_.28presentation.29 | What is an Artschool, Chelsea College of Art, London, 2016 (presentation)]]<br />
** [[Summary_of_projects_and_submitted_material#Notes_.28Summary_of_Projects_and_submitted_material.29 | Notes (Summary of Projects and submitted material)]]<br />
* [[Reflection,_theorisation_of_projects | Reflection, theorisation of projects]]<br />
** [[Reflection,_theorisation_of_projects#Intro:_Reflection.2C_theorisation_of_projects | Intro: Reflection, theorisation of projects]]<br />
** [[Reflection,_theorisation_of_projects#Library_of_Inclusions_and_Omissions_.E2.80.93_radical_publishing_practices_require_radical_librarianship | Library of Inclusions and Omissions – radical publishing practices require radical librarianship]]<br />
*** [[Reflection,_theorisation_of_projects#Which_narratives_enter.3F | Which narratives enter?]]<br />
*** [[Reflection,_theorisation_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality | Perspectives and framing under the disguise of neutrality]]<br />
**** [[Reflection,_theorisation_of_projects#Universal_language_and_.22controlled_vocabulary.22 | Universal language and "controlled vocabulary"]]<br />
**** [[Reflection,_theorisation_of_projects#Charles_Cutter.E2.80.99s_misguided_democratic_ideal | Charles Cutter’s misguided democratic ideal]]<br />
**** [[Reflection,_theorisation_of_projects#Dewey.E2.80.99s_obsession:_efficiency_and_universality | Dewey’s obsession: efficiency and universality]]<br />
**** [[Reflection,_theorisation_of_projects#Library_as_disciplinary_institution | Library as disciplinary institution]]<br />
**** [[Reflection,_theorisation_of_projects#Classification_.E2.80.94_an_architecture_to_house_the_universe_of_knowledge | Classification — an architecture to house the universe of knowledge]]<br />
**** [[Reflection,_theorisation_of_projects#Sameness_and_Difference | Sameness and Difference]]<br />
*** [[Reflection,_theorisation_of_projects#Citation.2C_shared_bibliography.2C_the_reference_as_dissemination | Citation, shared bibliography, the reference as dissemination]]<br />
*** [[Reflection,_theorisation_of_projects#The_agency_of_the_experiments_within_the_LIO.2C_the_contribution_to_knowledge | The agency of the experiments within the LIO, the contribution to knowledge]]<br />
** [[Reflection,_theorisation_of_projects#Let.27s_Mobilize:_What_is_Feminist_Pedagogy.3F_.E2.80.93_collectivity:_Who_authorises_whom.3F | Let's Mobilize: What is Feminist Pedagogy? – collectivity: Who authorises whom?]]<br />
*** [[Reflection,_theorisation_of_projects#Non-normative_approaches_and_institutional_habits | Non-normative approaches and institutional habits]]<br />
**** [[Reflection,_theorisation_of_projects#.22The_Un-authored.22_Practices_of_Organising_and_Caring_or_the_administrators_as_co-author | "The Un-authored" Practices of Organising and Caring or the administrators as co-author]]<br />
**** [[Reflection,_theorisation_of_projects#Collectivity:_Desires_and_Complications | Collectivity: Desires and Complications]]<br />
**** [[Reflection,_theorisation_of_projects#Questions_of_economy_and_efficiency_and_unmeasurable_labour | Questions of economy and efficiency and unmeasurable labour]]<br />
** [[Reflection,_theorisation_of_projects#The_Piracy_Project | The Piracy Project]]<br />
*** [[Reflection,_theorisation_of_projects#Queering_the_authority_of_the_printed_book | Queering the authority of the printed book]]<br />
*** [[Reflection,_theorisation_of_projects#The_queering_of_the_authorial_voice | The queering of the authorial voice]]<br />
*** [[Reflection,_theorisation_of_projects#Who_has_the_right_to_be_an_author.2C_copyright_and_IP | Who has the right to be an author, copyright and IP]]<br />
*** [[Reflection,_theorisation_of_projects#The_social_agency_of_piracy | The social agency of piracy]]<br />
*** [[Reflection,_theorisation_of_projects#The_power_of_framing_and_context | The power of framing and context]]<br />
** [[Reflection,_theorisation_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunisation | Boxing and Unboxing – against immunisation]]<br />
*** [[Reflection,_theorisation_of_projects#Boxing_Club_.E2.80.93_Sparring | Boxing Club – Sparring]]<br />
**** [[Reflection,_theorisation_of_projects#Sparring_-_rules.2C_trust.2C_enjoyment | Sparring - rules, trust, enjoyment]]<br />
**** [[Reflection,_theorisation_of_projects#Sparring_-_learning_as_.22the_beginning_of_something.22 | Sparring - learning as "the beginning of something"]]<br />
**** [[Reflection,_theorisation_of_projects#Sparring_.E2.80.93_transgressing_identity_categories | Sparring – transgressing identity categories]]<br />
*** [[Reflection,_theorisation_of_projects#Boxing_.E2.80.93_against_immunisation_and_the_figure_of_the_.22proper.22 | Boxing – against immunisation and the figure of the "proper"]]<br />
** [[Reflection,_theorisation_of_projects#Notes:_Reflection.2C_theorisation_of_projects | Notes: Reflection, theorisation of projects]]<br />
* [[Analysis | Analysis]]<br />
** [[Analysis#Analysis | Analysis]]<br />
*** [[Analysis#intro | Introduction]]<br />
*** [[Analysis#Anonymous_Authorship | Anonymous Authorship]]<br />
*** [[Analysis#It_does_matter_who_is_speaking.2C_a_feminist.2C_de-colonial_perspective | It does matter who is speaking, a feminist, de-colonial perspective]]<br />
*** [[Analysis#Rumour_as_Media | Rumour as Media]]<br />
*** [[Analysis#The_Quote_as_Dissemination | The Quote as Dissemination]]<br />
*** [[Analysis#Limits_of_Openness.2C_Co-option_.28this_is_a_draft_collection_of_thoughts.29 | Limits of Openness, Co-option (this is a draft collection of thoughts)]]<br />
*** [[Analysis#Dissemination.2C_Impact | Dissemination, Impact]]<br />
*** [[Analysis#Dissemination.2C_contingent.2C_contextual | Dissemination, contingent, contextual]]<br />
*** [[Analysis#authorship.2C_authorisation.2C_authority:_remarks_on_the_collaborative_wiki | authorship, authorisation, authority: remarks on the collaborative wiki]]<br />
* [[References | References]]<br />
* [[Appendix | Appendix]]</div>Ccl