http://wiki.evaweinmayr.com/api.php?action=feedcontributions&user=Eva&feedformat=atomEva Weinmayr Wiki - User contributions [en]2024-03-28T18:04:02ZUser contributionsMediaWiki 1.31.1http://wiki.evaweinmayr.com/index.php?title=Project_3_*_The_Piracy_Project&diff=11627Project 3 * The Piracy Project2021-12-07T08:09:14Z<p>Eva: </p>
<hr />
<div>{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}<br />
<br />
The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br><br />
<br />
= Starting point and context: Byam Shaw School of Art Library closure =<br />
<br />
[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]<br />
<br />
<br />
The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.<br />
<br />
[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=Open Call for copied, modified, emulated, annotated books=<br />
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}<br />
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] <br />
</ul></div> <br />
<br />
The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.<br />
The international announcement stated:<br />
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.<br />
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.<br />
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all><br />
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]<br />
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] <br />
<br />
[[File:Piracy Project open call.jpg|thumb|none|450px]]<br />
<br />
<br clear=all><br />
<br />
= Searchable online catalog=<br />
<br />
{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}<br />
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]<br />
<br />
The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).<br />
<br clear=all><br />
<br />
<br/><br />
<br/><br />
<br />
=Reading Rooms organized=<br />
<br />
<br />
[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]<br />
<br />
The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter 05*Reflection, theorization of projects. <br />
<br clear=all><br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}<br />
<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li><br />
{{Annotation|AF Munich}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}<br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Organizing discursive events= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]<br />
<br />
From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}} such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. <br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<div><ul><br />
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/><br />
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> <br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, <br />
"The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?<br />
<br />
We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]<br />
</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/><br />
<br />
For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]<br />
</li><br />
<br />
<br />
<br/><br />
<br/><br />
<br />
=Talks, interviews and panel discussions=<br />
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] <br />
<br />
In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.<br />
<br clear=all><br />
<div><ul><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/><br />
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"<br />
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.<br />
<br/><br/><br />
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.<br />
<br />
Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?<br />
<br />
One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) <br />
Moderated by Gary Hall (GB).<br />
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.<br />
<br />
How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.<br />
<br />
Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li><br />
<br />
<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> <br />
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.<br />
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.<br />
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).<br />
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/><br />
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?<br />
<br />
The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.<br />
<br />
Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.<br />
www.andpublishing.org<br />
<br />
Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited<br />
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/> →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/><br />
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/><br />
<br />
In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> <br />
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li><br />
</ul></div><br />
<br />
=Workshops, Collective Research, Teaching with the Piracy Project= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]<br />
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.<br />
<br clear=all><br />
<br />
[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]<br />
<br />
<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.<br />
<br/> <br />
<br/> <br />
<br clear=all><br />
<br />
[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]<br />
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."<br />
<br clear=all><br />
<br/><br />
<br />
<br />
<div style="width: 400px;"><br />
<div class="fadingimages"><br />
<slideshow sequence="forward" transition="fade" refresh="2500"><br />
<div>[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 18.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 17.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 19.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 16.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 20.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 21.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 22.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 23.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 25.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 24.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 27.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 29.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 33.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 32.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–Anna McCarthy, Tagar publication Page 34.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 35.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 37.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 38.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 40.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
</slideshow><br />
</div></div><br />
::::::::::::::::::::: <b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf '''Download zine produced during the workshop''']<br />
<br clear=all><br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br />
<br/> <br/><br/><br />
<br />
=Edited Publications=<br />
<br />
<br />
[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]<br />
<br />
<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.<br />
<br/><br/><br />
<br clear=all><br />
<br />
[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]<br />
<br />
<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/><br />
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.<br />
<br/><br />
<br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?<br />
<br/><br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.<br />
<br/><br/><br />
<br clear=all><br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]<br />
<br />
<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.<br />
<br />
At the time of writing, 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 />
Excerpt from the introduction to the book: "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." (...)<br />
<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=What Others Say=<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/><br />
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/><br />
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li><br />
<br />
</ul></div></div>Evahttp://wiki.evaweinmayr.com/index.php?title=File:Piracy_Project_open_call.jpg&diff=11626File:Piracy Project open call.jpg2021-12-07T08:06:32Z<p>Eva: Piracy Project call for contributions. Byam Shaw Library 2010.</p>
<hr />
<div>== Summary ==<br />
Piracy Project call for contributions. Byam Shaw Library 2010.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=6_Analysis:_Micro-politics_of_Publishing&diff=116256 Analysis: Micro-politics of Publishing2021-04-22T09:14:09Z<p>Eva: /* Politics of Mediating: the prop, the third object, and institutional pedagogy */</p>
<hr />
<div><br />
In this chapter, I will revisit the initial questions that triggered this research and analyze how these shifted and reframed themselves through the five projects. I started from a set of concerns regarding the political and emancipatory nature of the book, an aspect that is often understood as limited to the political nature of its content. I set out to explore the possible ways in which a book might be produced (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used) in political and emancipatory ways. Departing from the notion that knowledges are socially constructed, contingent, and situated, the project aims to investigate the act of publication as a social and pedagogical, and as such, a political process.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions was whether publishing might be seen as a verb (a process) rather than a noun (i.e., the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Initially, I had seen publishing as an outright positive and constructive act, as a tool for having voice and developing emancipatory agency. However, as the research progressed, this view became complicated by certain insights achieved through the inquiry. These insights recognize the limits and contradictions of collective knowledge practices (in institutional contexts but also outside them) and develop possible pragmatics and tactics to negotiate these contradictions – not as a universal solution, but in the form of contingent and situational approaches.<br />
<br />
In the following sections, I will identify and analyze the paradoxes, conflicts, and contradictions facing an emancipatory and intersectional approach to publishing, caused by (i) systems of validation and audit culture, (ii) the stasis of the "finite" object, (iii) the authority these discrete published objects produce. The discussion then leads to broader questions of the coercive mutual reciprocity between authorship, authorization, and authority, and the effects of this entanglement on my practice, and the writing of this kappa in particular. The series of bullet points below capture the main conflicts, contradictions and other findings which are expanded in each of the numbered sections that follow.<br />
<br />
<br />
<p style="font-family:'Courier New'">1</p><br />
*Collectivity does not stand for a harmonic idea of togetherness.<br/><br />
*Collectivity is distinct from collaboration, co-operation, or collegiality.<br/><br />
*The messiness in collective work can be unpredictable, exhausting, irritating – but it is worthwhile.<br/><br />
*Working collectively is political, as it deviates from the individuating societal default.<br/><br />
*Institutional efficiency appears unable to properly afford and account for collective work adequately – hence it tends to be precarious.<br/><br />
*Collective work, though intended to be created on equal terms, can nevertheless spawn unintended hierarchies.<br />
<br />
<br />
<p style="font-family:'Courier New'">2</p><br />
*Classifying, naming, and framing, have the structural feature that each approach valorizes one point of view and silences another.<br />
*Library classifications are not as neutral and universal as they appear.<br />
*Rather than being a neutral search tool, the catalog is a cultural object.<br />
*The catalog is itself a meaning-making structure.<br />
*The catalog and its records are best approached as sites of local knowledge and negotiation rather than authoritative and stable bibliographic descriptions.<br />
<br />
<br />
<p style="font-family:'Courier New'">3</p><br />
*Knowledges fixed in print or code produce authority.<br />
*Unfixing can happen in the form of oral and discursive practices, versioning, unbinding and unboxing.<br />
*Fixity creates accountability as a valuable facet of authorship but it tends to be unnecessarily merged with ownership.<br />
*Unfixing means to understand publishing as a verb (a process) rather than a noun (the finished object).<br />
<br />
<br />
<p style="font-family:'Courier New'">4</p><br />
*A publication can function as a currency in systems of audit and cultural capital.<br />
*A publication can function as a mediating "third object" in the context of institutional pedagogy.<br />
*A publication can function as a prop that moves the reader into new forms of thinking and being together which is, ultimately, more important than the prop itself.<br />
<br />
<br />
<p style="font-family:'Courier New'">5</p><br />
*Citation, as a key mechanism to acknowledge, critique and build on other knowledges, struggles to deal with non-stabilized utterances or practices – e.g. those that are in flux, oral, "unauthored" or not published.<br />
*By creating new relations, bringing resources, thinkers and practices in new arrangements citation can produce these resources, thinkers and practices anew.<br />
*Citation is an act of validation.<br />
*Citation as an act of relationality can also create concentrations of power.<br />
*Citation can operate as a reproductive technology, reproducing certain knowledges around certain bodies and excluding others.<br />
<br />
<br />
<p style="font-family:'Courier New'">6</p><br />
*There is no quick, simple or universal way to come to terms with the entanglement of authorship and private ownership as constructed by copyright.<br />
*Authorship without ownership can be imagined.<br />
*Authorial responsibility and authorial credit are two distinct facets of authorship.<br />
*Collectivizing authorship helps to unsettle the individuating apparatus, but still has to deal with questions of ownership once it enters systems of validation (publisher, institution, book market).<br />
*Authorship – from a feminist decolonial perspective – can be an important device for accountability that aims at decentering the universalism of the Eurocentric canon.<br />
<br />
<br />
<p style="font-family:'Courier New'">7</p><br />
*We need an altogether more flexible idea of authorship, rethinking the author as an instigator, maker, doer, teacher – somebody who "causes something".<br />
*Such redefinition expands the role of the author beyond a creator of discrete objects that are bound to a tangible and fixed form.<br />
*Such an understanding of authorship requires new criteria of evaluation: criteria that pay attention to the ways we publish, the inclusivity of our tools, and who is encouraged to speak or remain silent.<br />
*This shift would also entail a rethinking of "what can be measured" into "what we most value".<br />
<br />
<br />
<p style="font-family:'Courier New'">8</p><br />
*To envision authorship and citational ecologies differently, the metaphor of a compost heap could be helpful, with its economies of feeding, digesting, excreting, and transforming. <br />
*Authorship here is decentralized since a multiplicity of agents is at work to create this nutrient-rich milieu.<br />
*In such decentralized ecologies, authorial practice would be fundamentally collective and in motion. <br />
*Decentralized ecologies would include open-source and resource sharing, and licenses that permit re-use.<br />
*These ecologies would also need to overcome the binary "open" (free culture, copyleft) versus "closed" (copyright, intellectual property).<br />
<br />
<br />
<p style="font-family:'Courier New'">9</p><br />
*We need a less technical understanding of "distribution". See compost heap.<br />
*The sharing of my research findings in the format of a thesis is an act of publishing in its own right; it turns itself into an experiment.<br />
*Using the open-source MediaWiki to develop the thesis "in public" emphasizes the dialogical character of knowledge practice. It is simultaneously production and dissemination.<br />
*There are dilemmas and double binds that I have to negotiate when, as an individual subjected to an exam protocol, I try to migrate collective work into the institutional context of academia.<br />
*As I am authorized by a research institution to "author" this thesis, there is a danger that my individual framing could historicize and cement these dialogical, intersubjective, unstable, and contingent collective practices.<br />
<br />
<br />
= Collectivity=<br />
This PhD project set out to explore the micro-politics of publishing and its implicit "blockages" for emancipatory, collective knowledge practices. One assumption was that working collectively could be a method to resist the pervasive neo-liberal regime that encourages cultural workers to operate, as Susan Kelly (2013, 53) notes, "as hyper-individuals in a competitive and brand-oriented set of institutional and market hierarchies."<br />
<br />
There is a difference between working collaboratively and collectively. Collaboration could mean two or more people working towards a specific goal. It does not necessarily imply that the work is collective since each could carry out discrete tasks individually, that are later brought together to form a common outcome. In a similar vein, collectivity in an academic institution should not be confused with collegiality. Grounded on collaboration and constructive cooperation within the institution, collegiality "can be associated with ensuring homogeneity, and hence with practices that exclude persons on the basis of their difference from a perceived norm.”<ref name=" aaup"/> It can also be seen as merely "working together" to advance efficiency and productivity – in competition with other universities. But it is worth emphasizing that what I outline here are tendencies rather than binaries – collegiality, in the sense described, can be understood as a particular form of collective work, which does of course overlap with more resistant forms of collectivity and may also allow for their emergence.<br />
<br />
To clarify the difference I identify between these overlapping tendencies, I would propose that collectivity is most often based on a specific political approach. It tends to be noncoercive. It may be hard to achieve when whatever goal is collectively sought is grounded in wage labor relations with allocated tasks, roles, hierarchies, and individual responsibilities. Collectivity is contingent. It is not stable. It can dissolve at any moment if actors prioritize different matters and move on to other things. It can produce moments of great happiness and utter trouble.<br />
<br />
The collective work in the various projects that form part of this PhD often began with a specific idea, but the actual steps on this journey were not known in advance. Likewise, no specific roles or tasks were assigned at the beginning. I believe that this is the value of it. There was mostly a trigger event<ref name=" collectivity trigger"/> or a shared concern, which was then developed over time through exchange and thinking together. The motivations, concerns and desires of those involved were often not fully articulated at the beginning. A shared excitement to start a common project was, however, tangible. Still, what actually drove those involved was only revealed gradually, when propositions or steps taken by one of the actors came as a surprise to the others. These were moments of discovery of each other's positionalities and subjectivities. They reveal where “somebody comes from” (literally and metaphorically) and they expose the unspoken assumptions we sometimes make of each other when working together. To give an example: before embarking together on the five-year-long collective work Piracy Project, Andrea Francke and I did not know each other, but we often did not have to explain much to each other because our perceptions of many situations aligned. But there were moments when they did not. These were instances where Andrea's cultural and heritage (coming from a post-colonial society and sociability, growing up under various dictatorships, settling in London as a middle-class Latin American migrant) embodied a position that was different from mine (growing up in politically more stable but haunted-by-its-past Germany, settling in London as a middle-class European migrant). Such differing positionalities, caused by differing cultural backgrounds and ages,<ref name= "ages"/> make a collective inquiry complex and messy. They come with unexpected baggage, concerns and questions. Therefore, I would assert that collectivity does not stand for a romantic, harmonic idea of togetherness. Rather, collectivity implies facing each other's subjectivities, and diversities; producing agreements and disagreements. This can be a transversal moment, one of dialogue, negotiation, and learning to transgress one's own horizon and boundaries. Artist and activist Susan Kelly (2002) describes such moments of transversality as<br />
::a conceptual tool to open hitherto closed logics and hierarchies and to experiment with relations of interdependency in order to produce new assemblages and alliances. […] It is a tool to experiment with different forms of (collective) subjectivity that break down oppositions between the individual and the group.<ref name=" Raunig1"/><br />
<br />
I would propose that this form of generative messiness is at the core of collectivity. It is a constant back and forth between different knowledges and ways of knowing (following the distinction by de Sousa Santos)<ref name="Santos ways of knowing"/>and between the "we" and the "I".<ref name="we and I "/>{{Annotation|Exclusion: "we" and "they"}} This poses a certain challenge since it makes the boundaries of each member porous and vulnerable: I can be touched, I can be moved. This movement could be described as a process of de-immunization – something that is at stake, very tangibly, during the sparring exercises in the “Boxing and Unboxing” project (as discussed in chapter 05*Reflection). {{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_community.2C_immunity_and_the_figure_of_the_.22proper.22|see chapter 05*Reflection: Boxing and Unboxing – community, immunity and the figure of the "proper"}}<br />
<br />
It is revealing to reflect on how my role shifted throughout the different projects. “Boxing and Unboxing” as well as the “Piracy Project” originated in a shared idea and developed with similar commitment by those involved. In contrast, the “Let's Mobilize: What is Feminist Pedagogy?” workgroup was more fluid with various members dropping in and out. Here a core workgroup formed that kept the ball rolling. The “Library of Inclusions and Omissions” was again different in that I invited people to submit books and materials that were important to them to add to the Reading Room collection. The fact that it was conceived as a community library, as well as, to some extent, an art project, created a problem in that there was a clear delineation between me as the instigating artist and a public invited to contribute. Thus the project fell short of mobilizing what a collective, non-institutionally affiliated project might have been able to mobilize, namely a collectively sustained project.<br />
<br />
Instigating a supposedly collective project and situating it at the same time in the economies of cultural capital (by framing it as art) poses a fundamental conflict. I "owned" the project, and others contributed. In order for a collective project to be sustainable, the framework must be built collectively, as an act of instituting. Laurence Rassel explains this in relation to a workplace, like an art school. "On the one hand, institution is a creative process, apt to institute, to found, to establish. This is “instituting”, a process described in the present tense. On the other hand, “the instituted” is the result of a creative process. The instituted is what is crystallized, frozen and established. Alienation occurs when the instituted takes precedence over the institution." (Rassel and Gorgol, 2019). This claim can be applied to collective work more broadly. If processes are "instituted" collectively, there is no need for one instigating artist, a project leader, or similar, but there is a need to collectively institute a structure, one that can be adapted and adjusted according to need.<br />
<br/><br />
<br/><br />
<br />
=Politics of Naming=<br />
<br />
When knowledges are collectively constructed, how do we attribute roles, authorship and ownership? During the years of my publishing activity, writing the colophon at the end of a collective process always presented deep trouble. {{Interlink|Appendix_2*Interview_with_Femke_Snelting|see appendix 2*Interview with Femke Snelting}} The colophon is a mechanism of liability and credit. It marks the temporality and context of the book. It specifies and acknowledges the contributors and their respective roles. It provides all these data for bibliographic practices that will be replicated (presumably) in perpetuity. These specifications appear as metadata in library catalogs (MARC records), research repositories, archives, and the book trade (ISBN). These international standards have created a rigid set of form fields and categories capturing the book's provenance. These inflexible categories seem to produce a clash with the valuable messiness of collective practice and collectivized outcomes, as described above. <br />
{{Annotation|Social movement}}<br />
{{Interlink|5_Reflection,_theorization_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality|see chapter 05*Reflection, theorization of projects: Perspectives and framing under the disguise of neutrality}}<br />
<br />
Connected to the question of attribution are the power dynamics and implications of classifying, naming and framing. Scholars that critically studied the concept and history of classification (Ranganathan 1931; Star and Bowker 1999; Drabinski 2008, 2010, 2013; Berman 1971; Olson 2000, 2001, 2007; Knowlton 2005; Senior 2008) revealed the implicit biases and dilemmas of fundamental and structural classification principles: each standard and each category valorizes one point of view and silences another. Despite the claims of neutrality and universality – often attached to classification schemes – they are socially produced and embedded structures and they "carry traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them." (Drabinski 2008, 198). That ultimately means that any efforts to “fix” the terminology are necessarily restricted by the dilemmas of classification itself. “It is not possible to do classification objectively. It is the nature of subject analysis to be subjective.” (Drabinski 2008, 198).<br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Radical_Publishing_Practices_Demand_Radical_Librarianship:_Perspectives_and_Framing_Under_the_Disguise_of_Neutrality_.28presentation.29.2C_at_We_Publish.2C_Kunsthalle_Bern.2C_16-17_January_2020|see presentation: Radical Publishing Practices Demand Radical Librarianship}} <br />
<br />
Yet the projects in this inquiry also would accept that forms of classification are deeply embedded in almost all knowledge practices, from large-scale universalist systems to more flexible ad hoc arrangements. And that there can much value in classification systems for developing knowledges. On this basis, and understanding that the project of classification is impossible to do objectively, it may be said that the projects in this inquiry have explored and developed alternative approaches and possible frameworks for non-objective classification systems. <br />
<br />
The experiments with the changing organizational categories when displaying the pirated books on the reading room shelves have shown that the different categories used produced on each occasion different entry points and varied perceptions of the books and what they do. This tactic has an eye-opening effect, and can be applied in small scale projects, but is not feasible when it comes to big repositories, due to the labor involved in constantly re-organizing large amounts of books.<br />
<br />
[[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|250px|thumb|left|link=| Piracy Project Reading Room Kunstverein Munich, 2013]]<br />
The LIO showed that the book record itself could become “writeable” by asking the contributors for a rationale as to why they added this specific book to the community resource, and why they wanted to share it with others. Here the record is not an authoritative and neutral bibliographic description of the books’ content, but a trace of the readers’ meaning-making process and a description of the books’ agency, from the perspective of a particular reader. To share this process, to disclose what the book moved or opened up for the reader can be seen as a mechanism to find affinities, to socialize reading by connecting the library users through their readings, their discoveries, desires, struggles, and hopes.<br />
As such I would identify the insights that emerged from these projects as being: (i) naming and classifying are political endeavors; (ii) as a representation of what is cataloged, the catalog itself forms a meaning-making structure. <br />
<br />
Rather than constituting a mere search tool the catalog and its records are cultural objects that invite examination, critique, and negotiation. Both projects, in their distinct ways of provisional system-making demonstrate that it is not the books’ content alone that determine how knowledges are created and shared, but also the protocols and ecologies that are created around it.<br />
<br/> <br />
<br clear=all><br />
<br />
=Politics of Fixing =<br />
<br />
The assumption that stability is a key property of a book (and also a precondition to its inclusion into library catalogs) generated a whole set of questions and attempts to explore this fixity's implications and limitations further.<br />
{{Interlink|5_Reflection,_theorization_of_projects#Queering_the_authority_of_the_printed_book|see chapter 05*Reflection, theorization of projects: Piracy Project: Queering the authority of the printed book}}<br />
I have previously examined the perception that publishing means temporarily stabilizing knowledge by fixing it to a material form (paper, ink, screen, code). As an object, detached from its makers (people) as well as its historic moments (time) and ecologies (context) of production, it can circulate and spread into different regions, circumstances, and epochs.<br />
<br />
But what is the problem with this fixity? The book, as a discrete object, turns knowledge via authorship into private property based on copyright and the related claim of originality. In systems of audit this knowledge, in its fixed form, tends to turn into an asset, a proof of excellence that gets authorized and validated due to the fact that it has been turned into a document.<ref name="document" /> As an end product of a process, it is this discrete output that can be audited and therefore fed into systems that are based on a logic of calculation (discussed below). It is not necessarily the stabilization per se – the book itself – that is here deemed problematic, but the status, value, and authority a publication is given within the wide field of knowledge practices. On the other hand, fixing knowledges in publication form also produces accountability. This was important, for example, for university reformers from the 18th up to the 21st century who have celebrated the act of publication as a means to help minimize bulging concentrations of power and unsustainable systems of patronage, which were prevalent in the early modern university. They saw publication as an efficient vehicle to bring more transparency and objectivity into systems and networks of power patronage based on familial status, inheritance or personal connections.<ref name= "Wellmon1"/> <br />
<br />
Likewise, multiple revised editions of books with new introductions and commentators challenge in part the assertion that the book is a finite and resolved object. Yet the problem remains, that in today's culture of new public management its asset-like character privileges publication over most other utterances and processes of creating and sharing knowledge, a development in Western modernity that has been conceptualized by many decolonial and critical theory scholars.<ref name="Certeau01" /> <br />
<br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29| see co-edited book: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|250px|link=|Piracy Project Reader, AND Publishing, London, 2014]]The Piracy Project’s tactics of “versioning”, of reproducing, copying, emulating, modifying and pirating existing works as a mechanism to question the property form of the book, and of knowledges more widely, point towards two facets of fixity: the premise of permanence and stability of the printed book, and that of authorship. Both are discussed in the chapter 05*Reflection, in *Queering the authority of the printed book, and in *Unsolicited Collaborations: queering the authorial voice.<br />
<br />
The Piracy Project Reader <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating,</i> for example, applies a strategy of versioning, that ultimately attempts to test how a publication can grow and change over time. The first version of the book was published with a number of chapters – each exploring one of the terms above – to be written in the future. The book’s purpose was to initiate thinking and have the thinking feed back into new versions of the book. “This book is not finished. It is the start of a dialogue that will grow as we go along.”<ref name= "Piracy Reader"/> This open-endedness attempts to debate the assumption that a book is an endpoint of a process – instead it conceives publication as an instigating medium, similar to a prop.<br />
<br/><br />
<br/><br />
<br />
=Politics of Mediating: the prop, the third object, and institutional pedagogy=<br />
<br />
I started this inquiry by asking how publishing can create spaces (in the figurative and physical sense) for better mutual understanding and rethinking relations between people. I knew well from my prior experiences of teaching critical (feminist) strategies of publishing that the process of collectively working on a publication can be a pedagogical and, as such, a political process – but more exploration was required.<br />
[[File:Let's Mobilize Valand Academy- walkable book 07.jpg|thumb|250px|link=|right| A walkable book, <i>Let's Mobilize</i> workbook, HDK-Valand, 2016]]<br />
Analyzing the experimental production and dissemination of the <i>Let’s Mobilize</i> workbook however showed that the pedagogical and political agency of a publication is its function to act as a "prop". This concept proposes a fundamental shift from valuing the object (as discrete countable and accountable output) for what it does, for its agency to move into new relations, and as a tool for thinking together. Ultimately, as Moten and Harney (2013, 106) state, this new way of being and thinking together is more important than the prop itself. <br />
<br />
In referring to pedagogy above, I am not referring to the transfer of skills. Of course, learning how to do a layout, prepare a prepress file, processes around printing, paper, and binding are useful skills to acquire, but I was much more interested in the function of <i>this object</i> that we were making together, its function as an initiator of collective practice itself. Therefore it could also be said that a publication can operate as a "mediating third object", as conceptualized in institutional pedagogy and institutional psychotherapy, laid out in the chapter 05*Reflection. <br />
<br />
The <i>Let's Mobilize: What is Feminist Pedagogy</i> workbook is a good example of a "mediating third object". This term was conceptualized by Gary Genosko (2002, 9) as an object that "exists outside of faceto-face relations and upon which work is done cooperatively, and for which responsibility is collectively assumed, through a series of obligatory exchanges."<br />
<br />
The workbook, as mediating third object, therefore had two functions. Internally, it acted as a material site and an occasion for the group to come together, and through the practice of sharing, articulate and crystalize ideas and concerns. For instance, by producing a piece of collective writing – "the Glossary" in the workbook – the working group's thoughts materialized in a concrete way. Externally these thoughts acquired a social existence in the form of the disseminated workbook and the posters on the walls that turned the academy into a walkable book. This served as an invitation to the school community for a critical discussion and reflection on prevailing institutional habits, practices of learning and teaching, and also to prepare the ground for the collective analysis of these topics during the three-day event (mobilization). Here the publication, situated and contingent, was a means and not an end.<br />
<br />
Therefore, the <i>Let's Mobilize</i> workbook had to some extent a real-life effect in attempting to rethink relations between members of the art school. It "instituted", to a certain degree, modes of being and working together, of learning and teaching, which disrupted or at least initiated a rethinking of institutional habits at the art school. The invitation to do this – via the workbook and its experimental dissemination – was taken up by the art school community and the workbook was subsequently used in a range of courses at the art school.<br />
<br/><br />
<br clear=all><br />
<br />
=Politics of Citing=<br />
As I have shown, a publication's capacity to act as a "third object" with others builds on my initial assumption that knowledge is socially constructed. Knowledge, according to this understanding, is built on sharing, imitation, and dialogue, and is fundamentally relational and collective. Citation, therefore, is a key method of acknowledging relationships and interdependencies. When I cite, I make visible: with whom I am in dialogue, what I am referring to, whether human agents, non-human agents, tools or practices. [[File:LIO index card Nicole.jpg|thumb|right|250px|Library of Inclusions and Omissions]]<br />
Citation is however not just about disclosing such dialogue, it is also generating new relations, and as Karen Barad would claim, it generates the cited elements to an extent anew. This generative aspect of bringing elements in relation, what Barad calls “infra-action” is the topic of the conversation with Femke Snelting (Appendix 2). The significance for the discussion of citation here lies in the generative agency of “re-inventing” specific elements by the way they are brought together through citational practice.<br />
<br />
Citation, of course, can also work as contraposition – as a site of citational contestation that can be generative through revealing potential omissions or claims to be disputed, as I will show in section 6.2*It does matter who is speaking: a feminist, de-colonial perspective. <br />
<br />
Such relationality is at the core of the Library of Inclusions and Omissions, that, via the book records, connects the reader (contributor) to the book (in the beginning I used to name it “patronage” or “homage”, a description that did not hold up over time to describe the quality of this relational aspect), and through the book (and its rationale for sharing) to other readers – their hopes, desires and struggles. I would claim that this act of connecting could be a form of citational practice – in an expanded sense.<br />
<br />
With a different approach, citation and relationality, are also asserted in the Piracy Project. Here, via "unsolicited collaborations" in the form of unauthorized modifying, reproducing, and intervening into the authority of published books, a new and at times contested relationship between the source and the pirate is set up. With its main focus in investigating the enclosures that arise from intellectual property and copyright protection, the Piracy Projects consequently also examines the complexities and conflicts of the grey zone that emerges through the project, where citation, cultural appropriation and plagiarism cross over. {{Interlink|5_Reflection,_theorization_of_projects#The_social_agency_of_piracy|see chapter 05*Reflection, theorization: The social agency of piracy}}<br />
It is the practice of "teasing, making an attempt, contending with", and to some extent "to give trouble," as I framed it in the chapter 05*Reflection, theorization of projects, section 2.4*The social agency of piracy, that tries to unpack the potential of finding new ways of sharing and relating, but also the dangers of such practice when unauthorized “re-use” might oppress others.<ref name="Free Culture"/><br />
<br />
How do I relate to somebody else's work? What are my rights, and responsibilities, when I refer to, use, cite or pirate somebody's work? Is it an act of borrowing, poaching, plagiarizing, pirating, stealing, gleaning, referencing, leaking, copying, imitating, adapting, faking, paraphrasing, quoting, reproducing, using, counterfeiting, repeating, cloning, or translating?<br />
<br />
Citational politics turn complicated when it comes to questions of concentration of power, visibility and authority. In a seminar during the first year of my PhD studies, a question was put to us: "Which material do you access for your research? What sources do you consult? And where do you find things?" One of my peers responded: "In a phone call with my mum." It sharply made apparent the contrast between formalized and established academic knowledge-formation mechanisms and the informal and unpredictable learning methods rooted in friends, allies, and family. The three questions pointed at the politics of citation. They raised the possibility of bringing on board the voices, sources, and other forms of utterances that, due to academic convention, are less liable to be acknowledged.<br />
<br />
[[File:Fem Ped 13.jpg|300px|thumb|link=|left|Let's Mobilize: What is Feminist Pedagogy?]]<br />
<br />
Throughout my research practice, I experienced the tension between informal ways of knowing and the institutionally authorized canon of the colonial Modern Project. This experience triggered, on the one hand, the need to examine the field in between the two. This includes, on the one hand, the interactions and multiple power relations, reinforcements, convergent oppressions, violence, and exclusions that can occur within the spectrum of knowledge practices, and, on the other, the desire to look for methods to foster dialogue and articulations between different kinds of knowledge.<br />
<br />
Citation, a key technology for knowledge practices, can sometimes prove problematic. For instance, as I have shown, my practice tends to develop in dialogue. I use dialogue here in the Deleuzian sense, as the ability to "populate" and "be populated by others." (Deleuze and Parnet 1987, 9). References and connections, therefore, emerge from encounters, from "doing together" and "thinking with." As Gilles Deleuze describes:<br />
::You encounter movements, ideas, events, entities. All these things have proper names, but the proper name does not designate a person or a subject. It designates a zigzag, something which passes or happens between the two. (Deleuze and Parnet 1987, 6),<br />
<br />
But how to reference a zigzag? How do you name, cite or refer to knowledges that are in flux, oral, not "authored" or published? How would you potentially reference a situation, an encounter, an environment, or the tools you are using? What counts as a citable "publication"? What counts as citable at all? Academic style guides give an idea of how to reference personal communication<ref name="style guide"/>, but the questions I am asking above seem much more fundamental. <br />
<br />
For example, artist and researcher Femke Snelting pointed out in a conversation with me that Donna Haraway (2015, 161) refers in one of her texts to anthropologist Marilyn Strathern's study of Melanesian sociality.<ref name="Strathern Melanesia"/> Haraway acknowledges the Melanesians first (as authors of their culture and society, so to speak) and then Marilyn Strathern's analysis of it second. This seems a significant shift.<br />
{{Annotation|Iceberg}}<br />
<br />
This analysis of the politics of citation is also relevant to my practice of writing this PhD thesis. In Western academia, citational ecologies are tightly connected to regimes of authorship, a discussion that unfolds throughout this PhD. Citational methods do not operate the same way in different disciplines, but it is important to register that there are politics at play, since citing can be, according to Sara Ahmed (2013), a "rather successful reproductive technology, a way of reproducing the world around certain bodies."<br />
<br />
During a conference held at HDK-Valand to mark the 150th anniversary of art education in Gothenburg, the keynote speaker happened to reference well-known white Western male authors, artists, and theorists exclusively in his contribution. This is not an unfamiliar situation, even today, but is perhaps all the more troubling for the fact that it takes place in the context of a celebration of art education and reinforces the sense that education is (still) mainly for and about this one dominant demographic. It shows that citational structures can construct a disciplinary cosmos that excludes all sort of other bodies and knowledges – a cosmos, as Sarah Ahmed says, in which other bodies do not exist (Ahmed 2013).<br />
<br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Rethinking_where_the_thinking_happens_.28public_interview.29|see interview with Sarah Kember: Rethinking where the thinking happens}}<br />
<br />
Citing can also be seen as a strategic and/or necessary approach to claim a space in academia. The mechanism is simple and tempting. I put myself in relation to and in proximity to validated voices, hoping that my own writing might get similar recognition. I first map the field. I demonstrate that I am knowledgeable about the established authorities in the discipline, and then I craft my contribution in relation to them. I reference, I cite the orthodoxy in order to be taken seriously. This bears the risk that I inherit and, critically or not, reproduce this tradition – I cite myself “into an academic existence."<ref name="Ahmed0-Kember"/><br />
<br />
Reflecting on my own citational practice throughout the different sections, I am not free of this risk. My references are partly based on personal relationships, direct encounters, conversations, workshops, or discussions, and partly on reading. Here, most sources are published books that have attained a position of some authority within their respective disciplines. Such institutional validation tends to produce structural exclusions and omissions. In the Humanities, for instance, we can observe a striving for institutional power that goes hand in hand with oligopolistic tendencies in the publishing industry, as a recent study shows.<ref name="Wellmon05"/><br />
<br/><br />
<br/><br />
<br />
=How could we imagine authorship without ownership? =<br />
<br />
When I set out to explore the micro-politics of publishing, I stated that rather than being interested in the book as a discrete container for radical content alone, I was interested in the potentially radical, political, and emancipatory ways it is made and shared, as well as “owned”. In the previous sections, I have discussed the messy relationships within my collective practices, and I have shown how “fixing” produces an object that easily turns into an asset when it enters regimes of validation and audit. In this section, I will discuss the interplay between authorship and ownership and the attempts in the projects to find ways to imagine the former without the latter. Ownership is, of course, challenged by Free Culture advocates and the open-source and copyleft movement who abandon the property form entirely (copyleft) or develop licenses that allow for re-use (Creative Commons, Free Art License, etc.). Artist, musician and media researcher Aymeric Mansoux (2013) sees the strength of free culture and open knowledge not so much in "being a technical tool that can solve copyright problems," but in their function to "suddenly make tangible the obfuscation and secrecy found in art practices and art preservation". This is in my opinion a very important step, although it would be necessary to direct the focus of the debate not exclusively on ownership questions, but on questions of individual (human) authorship that precedes ownership.<ref name="Free Culture"/> <br />
<br />
As I have referenced earlier, there are two facets to the term authorship. One is the activity of authoring (making, writing, etc.). The other is the attribution of the authors' names to what has been done. In my inquiry, a range of functions related to authorship became apparent: (i) as a mechanism to be referred to (visibility, citation, responsibility, accountability) in the Library of Inclusions and Omissions, (ii) as a concept that is tightly connected to ownership (intellectual property, copyright, cultural capital, institutional audit) in the Piracy Project, (iii) relating to activities that don't produce an object (organizing practice, developing methods) in Let's Mobilize, and (iv) relating to moments of learning and dialogue (performative, sparring) in Boxing and Unboxing. The puzzle that gradually surfaced throughout this research was: when does authorship turn into "Authorship" with a capital A? Or put differently: what are the circumstances in which is something validated as authored, and by whom? And if we could eventually do away with the author figure altogether, what would we stand to win or lose? <ref name="Mark Rose 1"/><br />
[[File:Biagoli-documents_lowres.jpg|thumb|250px|left| Multiple authorship in science, indicating actors involved in research and addresses of their institutions.]]<br />
In contrast to authorial discourse in the Arts and Humanities, in scientific authorship, the distinction between authorial responsibility and authorial credit is much more important. Mario Biagioli demonstrates the interaction of these two facets in scientific authorship and lays out the complexities of demarcating and acknowledging multiple agents and actors in large science projects raising a comprehensive set of questions:<br />
<br />
::How are institutional evaluators and funding agencies supposed to assess the credit to be attached to each name listed in the byline? How is that credit to be weighed according to these names’ placement and modalities of order? How does the name of the journal in which an article is published affect the credit to be bestowed on the name of the author? How can readers be sure that those long strings of names are neither too inclusive nor too exclusive? Are senior practitioners given authorship without having done the work, and are junior researchers unjustly denied it? And, if a paper is deemed fraudulent to whose name should that responsibility fall? (Biagioli 2006, 131)<br />
<br />
In science, we find sometimes over 100 author names, listing the different actors behind the publication of an article in the by-line; and again, in contrast to artistic or literary authorship, "the scientific author needs to have a real name (not a pseudonym) and a real address to be included in the article itself" (Biagioli 2006, 140). Biagioli brings to light the complexities of multi-authorship, and attempts to demarcate which agents to acknowledge in the constructive process (the lab work) and in writing the scientific paper. Should referees and editors of the paper be assigned author function? What is the role of lab workers who contribute to the constructive process? Should those be attributed an authorial function?<br />
<br />
Important for the analysis of the author-function in the context of this artistic research is the insight that in contrast to scientific authorship – concerned with finding truths – artistic or literary authorship is attached to an artifact ("of original expression", as defined by copyright). <br />
{{Interlink|4_Summary_of_projects_and_submitted_material#The_Impermanent_Book.2C_co-authored_with_Andrea_Francke_.28essay.29|see essay: The Impermanent Book, co-authored by Andrea Francke, Eva Weinmayr}} The collaborative projects in this research have triggered a range of co-authored writing experiments. One instance is the essay "The Impermanent Book," which consolidates Andrea's voice and mine into an apparently single voice. Here the authors' dialogue – the process of going back and forth when shaping the writing, the mutual revisions, critical comments, the adding and removing parts to clarify claims and positions – is not visible to the reader. The text appears to have been written by a single hand.<br />
<br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see introduction to: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Translating, Cloning, co-authored by Andrea Frankcke, Eva Weinmayr}}<br />
<br />
In contrast, in the introduction to the book <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Translating, Cloning</i>, Andrea and I used the form of a written dialogue that allowed us to present disagreements without consolidating the authors' stances and different positionalities into one consonant voice. It is a conversation, where one picks up on or responds to the other, in which who said what remains visible.<br />
<br />
{{Interlink|Appendix_1*Let%27s_Mobilize_Revisited|see appendix 1*Revisiting Let's Mobilize, multilayered commentary}}<br />
The third experiment, "Revisiting Let's Mobilize" (Appendix 1) is a densely woven piece of multi-layered commentary across four columns that allows the different viewpoints and experiences of the contributing authors to stand for themselves. Commentaries on commentaries spin a nested fabric of layers that link observations, frustrations, hopes, and desires of contributing authors – without trying to conceal any contradictions.<ref name="Bayle"/> The Feminist Mobilization working group made this choice because the technique of multi-layered commentary allowed us to reflect on the jointly organized mobilization event without needing to be in agreement with each other.<br />
<br/><br />
<br/><br />
==It doesn't matter who is speaking ==<br />
[[File:Piracy Project 000Kitap front.jpg|thumb|250px|000Kitap, Ahmed Şik, <i>000Kitap, Dokunan Yanar</i>, Istanbul: Postaci Yayinlari, 2011. Piracy Project Collection]]<br />
[[File:Piracy Project 000Kitap back.jpg|thumb|250px|A range of tactics have been tested to escape authorship-related prosecution under oppressive regimes. One recent example that forms part of the Piracy Project, exercises the "I am Spartacus" strategy. After the release of an unpublished manuscript, <i>000Kitap, Dokunan Yanar</i>, presenting links between the Gulen movement and the Turkish police forces, the author, independent journalist Ahmet Şik and his colleague Nedim Sener, were imprisoned before the book could be published. The banned manuscript had been posted on the Internet and got downloaded over 100,000 times. During his time in jail, facing charges of terrorism, a printed copy of the book circulated attributing authorship to 127 names listed on the back cover. Here the dispersal of authorship becomes a tactic for free speech in oppressive regimes.]]These collaborative writing experiments describe the activity of authoring: the making, the doing, the "verb". Once it is done, it turns into a "piece" of writing, a "noun" or in legal parlance "an original expression". When this "noun" enters a specific context of dissemination it is most commonly signed by one or more authors. I have discussed this second aspect of authorship – the demand for an author's name to which the work can be attributable and its close ties with ownership in form of intellectual property and copyright, and the stifling effects these legal constructs have on collective knowledge practices ¬– in the chapter "Confronting Authorship-Constructing Practices – How Copyright destroys Collective Practice". Towards the end of that book chapter, I ask what would happen if I did not attach my name to the text – if it went “unauthored” so to speak.<ref name=" Weinmayr–Confronting"/><br />
<br />
::What if anonymity replaced the designation of authorship? How would the non-visibility of the author matter to the reader? What would such an orphaned text trigger within dominant infrastructures of publishing and validation? How would bibliographers catalog such a text? How could it be referenced and cited? [...] How would such a text, non-attributable as it is, change the policies of evaluation and assessment within the knowledge economy? Would the lack of an identifiable name allow the text to resist being measured as (or reduced to) a quantifiable, auditable "output" and therefore allow the issue of individualistic authorship to be politicized? (Weinmayr 2019, 298–300) <br />
<br />
Much thinking and conversations, however, prompted the insight that if not attributing authorship remained an individual and one-off act, it would again subject me to regimes of individualization that could only be countered by a widespread and possibly unionized practice, when broadly accepted procedures that acknowledged the complexity of collective creation could be put in place.<br />
<br />
One tactic of "unionizing practice" can be seen in the use of collective pseudonyms ("Anonymous", "Luther Blissett," "Karen Eliot," "Monty Cantsin”) that I discuss in more detail the same book chapter.<ref name= "Joint pseudonyms"/> Collective pseudonyms select one joint signature name for multiple identities and authors who publish, perform or exhibit under this multiple-use name, a strategy that has been adopted by many radical and cultural groups to protect their anonymity.<ref name="ultraright"/> The collective pseudonym could be seen as a construction of a "communal being."<ref name=" Thoburn 4"/> Here, identifiable roles and identities are refused,<ref name="Coleman"/> and the individual and the collective are no longer placed in a dichotomous relation – as Nicholas Thoburn (2016, 179) explains, each individual is a product of collective relations.<br />
<br />
Therefore, one could say that joint pseudonym practices constitute an implicit critique of the construction of the "possessive individual," a concept coined by sociologist C.B. MacPherson that I have discussed in chapter 05*Reflection: Boxing and Unboxing – community, immunity and the figure of the "proper".{{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_community.2C_immunity_and_the_figure_of_the_.22proper.22|see chapter 05*Reflection, theorization of projects: Against immunization and the figure of the proper}} While anonymity and conceptualizations of "communal being," as I have shown, can have a tactical value in confronting the individuating apparatus at play in textual media and publishing, there is a different consideration, which complicates the argument – this time from a feminist and decolonial perspective.<br />
<br/><br />
<br clear=all><br />
<br />
==It does matter who is speaking: a feminist, decolonial perspective==<br />
<br />
The pseudonymic practices concerned with anonymity in the 80s and 90s in Europe and North America may be connected with Roland Barthes' and Michel Foucault's seminal critique of the author-function.<ref name= "Barthes 1"/><br />
<br />
Foucault, by focusing his critique on the author function (as a means to reveal the logic of discourse as something that does not proceed from the subject at its center of intention and logic) tends to obscure, if not fully abandon, the scene of writing. The author-function for him "does not refer purely and simply to a real individual.” (Foucault 1980, 130). The task that he set himself is precisely to avoid this scene: “I had no intention of describing Buffon or Marx or of reproducing their statements or implicit meanings, but, simply stated, I wanted to locate the rules that formed a certain number of concepts and theoretical relationships in their works.” (Foucault 1980, 114). For Foucault, the name of the author (unlike a proper name, which points to the real person who produced it), <br />
::remains at the contours of texts – separating one from the other, defining their form, and characterizing their mode of existence. It points to the existence of certain groups of discourse and refers to the status of this discourse within a society and culture. The author's name is not a function of a man's civil status, nor is it fictional; it is situated in the breach, among the discontinuities, which gives rise to new groups of discourse and their singular mode of existence. (Foucault 1980, 123)<br />
<br />
This critique of the author seems to be in tension then with the demand from those previously excluded and held in subaltern positions to achieve voice, and produce knowledge that is centered elsewhere than in European “Man.” Sara Ahmed (2004, 124) responds to Foucault by asking: "If the relationship between the author-function and a 'real individual' does not take the form of pure and simple reference, then what form does it take? How does the individual or empirical writing subject participate in the institution of authorship?" What Ahmed picks up on here with "empirical writing subject" is what may appear as Foucault's tendency towards a certain universalism expressed as "indifference." If one acknowledges that knowledges are situated – as are publishing practices – a potential "indifference" becomes problematic. Recognizing the positionality of a speaking subject seems an important task to account for the often unacknowledged Eurocentrism of Western philosophy.<ref name= "Ahmed 6"/> <br />
<br />
Foucault, however, is not proposing a universal dispensation (he is explicit on this point) but describing a changing economy of authorship: “the 'author-function' is not universal or constant in all discourse. Even within our civilization, the same types of texts have not always required authors; there was a time when those texts which we now call 'literary' (stories, folk tales, epics, and tragedies) were accepted, circulated, and valorized without any question about the identity of their author.”<ref name=" Foucault 125"/><br />
<br />
There is a difference between the project of describing the changing function of authorship in different historical contexts, seeking to dismantle its function in a bid for an emancipatory utterance, and the project of seeking a mode of “situated” authorship as an emancipatory act, against a history of repressed authorship (exclusion from writing, exclusion from access to publishing, exclusion from recognition when published, exclusion from citation when published, etc.). Decontextualized, these statements on authorship may appear fundamentally opposed. However, read in their situatedness with respect to different political tasks, what emerges is a difference in strategy, not necessarily a dichotomy of position.<br />
<br />
Nonetheless, we are still left with a tension between, on the one hand, a pull towards recognizing the author function as a regulative structure of the discourse, as part of an analysis of the regularities of the discourse of “Man”, and, on the other hand, the power-knowledge couplet, a pull towards claiming authorship and authorial voice so as to enact the situatedness of knowledge and counter the universalism of the discourses of “Man”.<br />
<br />
Similarly, a tension can be identified{{Annotation|Fighting arguments}} between the desire to undo the dichotomy between the individual and the collective, and to recognize the importance of acknowledging the situated empirical subject. On various occasions when workshopping these topics as part of this inquiry, interlocutors who had previously been marginalized, challenged my problematization of attribution practices. Often there was fierce advocacy for the prominent appearance of the individual's name attributed to the work as a way to gain acknowledgment.<br />
<br />
This raises again the question of who can actually afford to renounce this facet of cultural capital, not only in a monetary sense, but also in terms of being visible and being acknowledged as contributing to discourse. We need to identify this double-bind in order to be able to invent modes of being and working together that recognize the problematic of the possessive individual and at the same time acknowledge the difference of the “who” that writes. Then we might be able to move on from the question "how can we get rid of the author" to inventing processes of subjectivation that we want to support.<br />
<br />
{{Interlink|4_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|see presentation: Experimental Publishing #1, Critique, Intervention, Speculation}} <br />
<br />
Experimentation in my practice is connected to a particular problem in a specific context and time. It is an attempt to find approaches and ways of acting in a situation when the available or conventional modes of doing things don't work anymore. Implicit in practical experimentation is a potential failure, and the need to adjust. Nonetheless, experiments are a force for not getting stuck between "pure positions," as George Lipsitz proposes.<ref name=" Lipsitz"/> As an "experiment", I will propose in the following section an alternative understanding of authorship.<br />
<br/><br />
<br/><br />
<br />
=A more flexible idea of authorship altogether: from "output" to "input": contingent, contextual=<br />
A new question that emerged through my research is how we might create an altogether more flexible idea of authorship. The etymology of the term "author" provides a hint. Deriving from Latin "augere", to increase, to augment, the "auctor," "autour," "autor" was somebody "who causes to grow, a promoter, producer, father, progenitor,<ref name="Biagioli 1" /> an instigator, maker, doer – a responsible person, or a teacher, a person that invents or causes something."<ref name="etymology author" /> An understanding of the author, as an instigator or teacher, as somebody who "causes something", expands the concept of authorship beyond a so-called "output" that is bound to a tangible and fixed form. Hence an understanding of authorial practice as instigating would be fundamentally collective and in motion.<br />
<br />
Such an expanded conception of authorship, however, seems complicated in our current institutional environments (New Public Management), which measures the impact factor of authorial practice according to a logic of calculation: "How many books, how many articles, how many papers, how many citations? "If you are being cited, you have an impact."<ref name=" altmetrics"/> (See discussion around citation above.)<br />
<br />
The question that emerged through this research that had not been at all obvious at the start of my inquiry is: How can we, as institution, rethink how actual impact is evaluated and consider all the "not measurable practices" that determine how we actually meet in higher education institutions to create knowledge, such as peer-support, teaching and mentoring? These practices form the underacknowledged foundation of academic culture, in contrast to the recognition bestowed upon academic outputs. <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|see project 4*Let's Mobilize: What is Feminist Pedagogy?}}<br />
The organizing of the three-day Feminist Mobilization is a good example to demonstrate impact, which is however hardly measurable with the prevailing taxonomies. The labor here went into fundamentally rethinking how we meet, which bodies, and how bodies can be in one room together. How can we set up the temporal, spatial, and material aspects of such encounters to exchange and create knowledges? How can we listen to each other? How can we disagree respectfully? It was an enormous amount of work to organize the Mobilization – the working group acted for more than a year – but when it came to the institutional research evaluation, the institution had no adequate evaluation parameters, and in the audit it scored very low in terms of research points.<ref name= "research points"/>{{Annotation|Research points}} <br />
<br />
Furthermore, we can observe an energetic take-up of all the work invested in the project. The published workbook has been used as course literature for teaching at HDK-Valand and other art academies. It found its way into many international libraries and has been read and discussed in Feminist Reading Groups.<ref name="Reading groups"/> The international circulation of the book resulted in a range of invitations to both academic and non-academic events across Europe. <ref name="Events"/> Likewise, we saw increasing awareness amongst colleagues and students with regards to privileging white male, Eurocentric or North-American references and artworks in teaching. We also saw student initiatives exploring self-organized modes of collective teaching and learning within the academy.<ref name="student initiatives"/><br />
<br />
Of course, this is not all due to the Feminist Mobilization. The Mobilization was just one public "mobilizing" event amongst many others that tried to tackle structural inequalities at our art school.<ref name="conferences"/> But still, the university has no formalized criteria in its evaluation framework to acknowledge and value such non-measurable inputs. Therefore, it became clear a rethink of the instituted taxonomy of values dominating our academic institutions was necessary, leading to a whole set of new questions:<br />
<br />
What if we shifted the focus from "what can be measured" to "what we most value"?" What, if we evaluated scholarship according to criteria such as "equity, openness, collegiality, quality, and community?" as the human metrics initiative asks.<ref name="Long2"/> What would that mean for publishing practices? We need to value and give formal merit to all the processes and ways of publishing. We need to assess how inclusive our tools and protocols are, how open, enabling, and diverse our knowledge practices are. Christopher Kelty rightly asks what would happen if we valued not solely the content of utterances that are freely and openly circulated, but also the ways in which they are uttered. His most challenging demand is to ask ourselves "who is encouraged to say them [the utterances] and who is encouraged to remain silent?" (Kelty 2018).<br />
<br />
In such a scenario, we wouldn't have "outputs," instead, we'd have "inputs". {{Annotation|Input yeast in dough}} But what exactly does "input" imply? It means I put something into something. For example, I put yeast in the dough to make the dough rise. Input has a concrete agency within a specific context or community. The contingency and situatedness and the particular methods of production and circulation of the <i> Let's Mobilize: What is Feminist Pedagogy? </i> workbook, for instance, can be seen as an attempt to treat publication as input rather than an output.<br />
<br/><br />
<br/><br />
<br />
=Milieu: Compost. Feeding, digesting, excreting=<br />
<br />
The input/output binary, however, seems too simplistic. If we imagined knowledge practices not to be housed in a university building, but in a compost pile, we might be able to imagine a different ecology. One that turns the directional forces of "in and out" into a multi-directional thicket of turning over and over again, or in Karen Barad's words<br />
:: We might imagine re-turning as a multiplicity of processes, such as the kinds earthworms revel in while helping to make compost or otherwise being busy at work and at play: turning the soil over and over – ingesting and excreting it, tunneling through it, burrowing, all means of aerating the soil, allowing oxygen in, opening it up and breathing new life into it. (Barad 2014)<br />
<br />
{{Interlink|Appendix_2*Interview_with_Femke_Snelting|see appendix 2*Interview with Femke Snelting}}<br />
This kind of decentralizing ecology Barad describes here (to illustrate her theory of diffraction)<ref name="Barad diffraction" /> could help to rethink both authorship and citational ecologies as ''distributed'' in economies of feeding, digesting, excreting, and transforming. Authorship here is decentralized, as a multiplicity of agents are at work to create this nutrient-rich milieu.<br />
Femke Snelting explains that such decentralizing practices could, for example, entail open-source and resource sharing, licenses that permit re-use, or documentation of practice. What is interesting with her feminist interpretation of "response-ability" is that it implies two-way interaction. It has a strong dialogic force.{{Annotation|Feedbackloop}} It is not "making this patriarchal move of making the one responsible <i>over</i> the other." (Appendix 2*Interview with Femke Snelting) Referring to Donna Haraway, she states that for Constant's collective research practice it is important to create situations, obligations and objects in the world that allow for a response. To be responsible with materials, she says, means to allow people to figure out their own ways and also run with them – in ways that you might not have foreseen. In addition, for Snelting, response-ability is integral to tactics like publishing the sources that are used, or using free software tools, for example, which are in themselves response-able because they are read- <i>and</i> writeable.<br />
<br />
=Authorship, authorization, authority: remarks on the collaborative wiki=<br />
<br />
What would “response-ability” mean for sharing this research, given that this PhD submission constitutes a form of publication itself? How can I publish it whilst evading the very pitfalls that I address with this research project?<br />
<br />
Building on the practice-based insights of this PhD, there was a need to develop an epistemic method to write and disseminate the kappa of this thesis that could potentially act “response-able”. At this juncture the problem that emerged was that this research describes and analyses a set of long-term collaborative practices. The chapter "Reflections, theorization of projects" discloses the context for each project and how they developed over time, and how the individual actors or collaborating teams approached their practice and involvement. Inevitably, this goes along with a personal framing process. One of the results of my being "authorized" by a research institution to "author" this thesis, is that my individual framing could historicize and cement these dialogical, intersubjective, unstable and contingent collective practices. (See section: Politics of Fixing above.)<br />
<br />
The Mediawiki I chose as a format and tool for writing this thesis is an experiment in how other voices could be invited to add different perspectives and disagreements and how several layers of commentary could respond to each other. Nonetheless, I inevitably make individual decisions or Baradian "cuts," in that I set the structure of this text.<ref name= "cuts"/> Still, by inviting my collaborators and peers who have a stake in our shared collaborative practice to add to this wiki, I multiply the number of those being able to make cuts and to make them differently. <br />
<br />
Choosing the format of a wiki that operates simultaneously as a production and dissemination platform generates a non-linear form of writing – and reading. It offers different entry points, and it can link to its outside. It can embed multimedia, such as audio recordings, and moving images, and in this way mitigate the strictness and potential "monumentality" of more traditional forms of academic writing and reading. Furthermore, the Mediawiki, as a co-authoring platform, may create productive friction with the standard parameters of PhD examination, which are based on individual performance and on an authoritative act of analysis based on "autonomous" authorship. The syllabus of doctoral education is very clear on this: it uses the word "autonomously" no less than nine times.<ref name="doctoral syllabus" /> If this "wiki experiment" gets legitimized by the university, it could introduce a method of inquiry and disclosure that establishes routes towards alternative institutional processes of collaborative and dialogical knowledge formation and validation.<br />
<br />
However, there is a caveat. If successful, I will be awarded a PhD title, but others have helped me to achieve it. Even if I credit all the contributors to this wiki alongside all collaborators in the practice projects, by definition, there can be only one name earning a PhD. Of course, a PhD is always a collective effort based on the "thinking together" with supervisors and peers, the organizational support by administrators, and the institution's funding. It is, however, complicated and potentially close to an extractive process, when I try to migrate collective work that happened elsewhere – in an "extitutional" context, in precarious communities – into the institutional context of academia. <br />
<br />
The publicly accessible wiki might help to feedback into the compost pile, to the earthworms and bacteria, as Snelting suggests:<br />
<br />
::The fact that you are writing on a wiki for me is significant. Because it means not just me, but others will be reading this. And this means it is not going to be locked up in only one environment. So I know whatever I contribute is going to be part of that larger pool, it flows back to the field and is, therefore, in some way resisting this centralizing force [of academia]. And this is why I can think with you without feeling abused. (Appendix 2*Interview with Femke Snelting)<br />
<br />
Another form of redistribution can, I would argue, be seen in my activities as the provision of a service of thinking, connecting different fields, and archiving. The laborious task of sharing bibliographies and uploading sources as well as compiling the images, posters, documents – ephemera that got dispersed and almost lost over time. As they are now available online, these resources can be useful "to show and tell." (Remember – Lisa Gitelman's definition of the document function?) The reflections, insights, and connections that this kappa offers can – and hopefully will – be challenged and built upon.<br />
<br/><br />
<br/><br />
<br />
=Notes (Analysis)=<br />
<references><br />
<br />
<br />
<br />
<ref name=" aaup"> "The invocation of “collegiality” may also threaten academic freedom. In the heat of important decisions regarding promotion or tenure, as well as other matters involving such traditional areas of faculty responsibility as curriculum or academic hiring, collegiality may be confused with the expectation that a faculty member display “enthusiasm” or “dedication,” evince “a constructive attitude” that will “foster harmony,” or display an excessive deference to administrative or faculty decisions where these may require reasoned discussion. Such expectations are flatly contrary to elementary principles of academic freedom, which protect a faculty member’s right to dissent from the judgments of colleagues and administrators." While I do not agree with the conclusion of this statement, it is helpful to distinguish the nuances between collegiality and collectivity. See "On Collegiality as a Criterion for Faculty Evaluation", American Association of University Professors, 1999, https://www.aaup.org/report/collegiality-criterion-faculty-evaluation </ref><br />
<br />
<br />
<ref name="collectivity trigger"> These trigger moments for collective practice are often grounded in a common experience of something going wrong and in the desire to address it, adjust or develop an alternative. For example, events at HDK-Valand mobilized a group of staff and students to form a working group on Feminist Pedagogies that subsequently grew into a long-term project, and the experimental organization of the three-day mobilization Let's Mobilize: What is Feminist Pedagogy?. The trigger moment for the Piracy Project happened when Peruvian artist Andrea Francke approached me requesting an interview about AND's publishing practice. In this conversation, we talked about her research into book piracy in Peru, and thus the Piracy Project was born. It was congenial to connect the concept of book piracy fighting enclosures with the occupation of the Byam Shaw School of Art Library that I was involved in at that moment.<br />
</ref><br />
<br />
<ref name="ages"> For example, Rosalie Schweiker and I recognized the intergenerational aspect of our collaboration only when we discovered that Rosalie's mother is a couple of years younger than I am.</ref><br />
<br />
<br />
<ref name="Raunig1"> See also Gerald Raunig’s description of transversal activist practice: "There is no longer any artificially produced subject of articulation; it becomes clear that every name, every linkage, every label has always already been collective and must be newly constructed over and over again. In particular, to the same extent to which transversal collectives are only to be understood as polyvocal groups, transversality is linked with a critique of representation, with a refusal to speak for others, in the name of others, with abandoning identity, with a loss of a unified face, with the subversion of the social pressure to produce faces." (Raunig 2002) <br />
</ref><br />
<br />
<ref name="Santos ways of knowing">De Sousa Santos makes the distinction between knowledge and ways of knowing in his conceptualisation of epistemologies of the South. These epistemologies focus on “nonexistent knowledges, deemed as such either because they are not produced according to accepted or even intelligible methodologies or because they are produced by absent subjects, subjects deemed incapable of producing valid knowledge due to their subhuman condition or nature.” (de Sousa Santos 2018,2). He argues that in processes of social and political struggle knowledge is “lived performatively” and tends not to have an “individualizable subject”. The knowledges here are intrinsic to certain practices of resistance against oppression. They live embodied in social practices and emerge and circulate mostly in a depersonalized way. “While knowledges appropriate reality, ways of knowing embody reality.” (de Sousa Santos 2018,3). </ref><br />
<br />
<ref name="we and I ">The relationship between the “we” and the “I” in collective practice could be explored further in future. For example, how one’s positionality conditions one’s subjectivity and how group subjectivities are being formed – including the question of exclusions when it comes to inclusions. </ref><br />
<br />
<br />
<ref name="Strathern Melanesia"> Marilyn Strathern, ''The Gender of the Gift, Problems with Women and Problems with Society in Melanesia'' (Berkeley: University of California Press, 1988). Strathern's study shows the limitations of Western epistemologies, since as she claims, a range of Western concepts are inadequate for a genuine understanding of sociality in Melanesia. These include an understanding of personhood as fundamentally gendered, the distinction between commodities and gifts, the relation between individual and society. She points out that according to Western thought models, persons own themselves, their minds, their bodies, actions, and the products of their labor (John Locke, MacPherson). Such possessive individualist concepts do not exist in Melanesian thought, Strathern's claims. The importance of this study lies in its critique of the universal applicability of categories central to social science that reveals the ethnocentrism in dominant anthropological representations of the "other". </ref><br />
<br />
<ref name="Ahmed0-Kember">"Women too, people of color too, might cite white men: to be you have to be in relation to white men (to twist a Fanonian point). Not to cite white men is not to exist, or at least not to exist within this or that field." (Ahmed 2014). <br />
Sara Kember calls such reproductive structures "a boys' citation club" and even toyed in the planning phase of a new, experimental university press in the UK, with ideas to introduce a female citation policy. This plan, ultimately, could not be implemented as a policy due to legal reasons (Kember and Weinmayr 2015).</ref><br />
<br />
<br />
<ref name="style guide"> It is interesting that the Chicago Manual of Style actually includes personal communication. Hamersly Library at Western Oregon University suggests in their “Style Guide on Citation of Personal Communication: "Citations of personal communications should always omit any personal data (email address, cell phone number, etc.). Personal communications are typically also left out of the bibliography. Instead, include resource information in the footnote. Western Oregon University, Hamersly Library, accessed November 2019, https://research.wou.edu/c.php?g=551307&p=3785503.</ref><br />
<br />
<ref name="Wellmon05"><br />
In a recent study called "Publication, Power, Patronage," Chad Wellmon and Andrew Piper (2017) reveal the inequalities of scholarly publishing in terms of institutional diversity and gender equality. Conducting quantitative analysis, they studied four leading US-based humanities journals between 1970 and 2015 (Critical Inquiry, New Literary History, PMLA, Representations). They found that gender equality had slightly improved (39,4% of articles published by female authors between 2012–15). However, the concentration of power in the hands of prestige universities had actually increased: authors with a PhD from just two elite universities, Yale and Harvard, accounted for 20 % of all articles published in the studied journals. <br />
<br />
Similarly, a study by Posada and Chen (2018) of Knowledge Gap – a collective of researchers studying the underrepresentation of Global South academic knowledge in the global publishing system, and the various mechanisms through which such structures of inequality and exclusion are produced and reproduced in paradigms of openness – evidences disproportionate ownership of academic journals and papers in natural and the social sciences by the top five academic publishers in the Global North. They cite a study by Lavier et al. suggesting that the top five publishers (Elsevier, Wiley-Blackwell, Springer, and Taylor Francis and Sage) accounted for more than 50% of all papers published in 2013. This concentration of power puts not only economic pressure on independent academic presses, but it also, as the researchers argue, poses an increasing pressure on Global South scholarship "to adapt to the Western forms of scholarship and an increasing allure for global south journals in joining a global north publisher. Joining a global north publisher, in particular, serves as a form of academic neocolonialism, as the global north firm will have a direct influence upon the policies of such journals; while the adoption of western forms of scholarship merely enhances the hegemonic effect of global north academia." (Larivière et al. 2015) <br />
<br />
For Knowledge Gap, see also "The Geopolitics of Open," ''Radical Open Access and the Ethics of Care'', Centre for Postdigital Cultures, Coventry University, 2018. http://radicaloa.disruptivemedia.org.uk/conferences/roa2/the-geopolitics-of-open/.</ref><br />
<br />
<br />
<ref name="Free Culture"><br />
Both the Free Culture and copyleft movement are grounded in the conviction that knowledge is a collective effort, however, they still rely on property and individual (human) authorship as a framework. Another issue, as the license working group at Constant (Brussels) points out is that the Free Culture ideology potentially obscures issues of cultural appropriation by aligning to some extent with the interests of extractive platforms (platform capitalism). Constant are currently working on a draft for a new license “Collective Conditions for re-use (CC4r)” that “asks you to be attentive to the way re-use of the materials released under this license might support or oppress others – even if this will never be easy to gauge. This involves inclusive crediting and speculative practices of referencing and resourcing. It means to take into account the need for opacity when accessing and transmitting knowledge, especially when it involves materials that matter to marginalized communities. It asks you to refrain from circulating it on commercial platforms or to contribute to otherwise extractive data practices. Platform capitalism appropriates and abuses collective authorial practice.” This new license, still in work, is an adaption of the [http://artlibre.org/licence/lal/en/ Free Art Licence].<br />
</ref><br />
<br />
<br />
<br />
<ref name="cuts" > See Barad (2012, 46) and Appendix 2*Interview with Femke Snelting. See also Kember and Zylinska (2012).</ref><br />
<br />
<ref name="doctoral syllabus"> Revisiting the syllabus for doctoral education at Gothenburg University, I find the contested paradigms of monumental knowledge nested in the rules and regulations document of the university. As a feature required for the award of a PhD degree, the syllabus talks about "intellectual autonomy," "disciplinary rectitude," "to independently and autonomously pursue artistic research." See "Doctoral Education PhD syllabus," (Gothenburg: Gothenburg University, 2015). http://wiki.evaweinmayr.com/images/3/36/General-syllabus-PhD_in_Artistic-Practice.pdf. </ref><br />
<br />
<ref name="document" > What constitutes a document has been the topic of a vivid scholarly debate in the early 20th century across sociology, ethnography, anthropology, and media and communication studies. Michael Buckland provides a detailed study mapping the efforts to come up with a satisfactory definition. "Any expression of human thought" was one common definition, but it could not be agreed whether a document should be limited to texts, let alone printed texts (Buckland 1997, 805). Paul Otlet extended the definition of document in his "Traité de documentation" (Otlet 1934) by claiming that "graphic and written records are representations of ideas or objects." And even the objects themselves can be regarded as documents if one is informed by observation of them (ibid). According to Otlet, this includes "natural objects, artifacts, objects bearing traces of human activity (such as archaeological finds), explanatory models, educational games, and works of art." (Otlet 1934, 217)<br />
<br />
A more technical definition, which notably refers to the aspect of authority, was developed by the International Institute for Intellectual Cooperation: "Document: Any source of information, in material form, capable of being used for reference or study or as an authority. Examples: manuscripts, printed matter, illustrations, diagrams, museum specimens, etc." (Buckland 1997, 805).<br />
<br />
What everyone seems to agree on is that documents are epistemic objects. As Lisa Gitelman shows, the term document comes from the Latin root "docere," "to teach," "to show" or "to cause to know." Gitelman defines documents as "evidential structures, recognizable sites, and subjects of interpretation across the disciplines and beyond." (Gitelman 2014, 1) <br />
<br />
Sociologists since Max Weber have considered documents as crucial technological elements of bureaucratic organization. (Weber 1968, 66–77). Since documents administer knowledge in a material form, they play a crucial role in colonial epistemic modernity. The stability and reliability of documents create value for the bureaucratic organization and therefore override other kinds of knowledge that are based in orality, in common experience, in lived collectivity.<br />
</ref><br />
<br />
<ref name="Certeau01" > Michel de Certeau, for instance, claims that the oral and temporal experience of sociability and discourse has been overwritten by "forms of transport," by a practice (writing, publishing) that was seen as more legitimate than "doing" whether in science, politics or the classroom (De Certeau 1984, 134). He declares: "Thus one can read above the portals of modernity such inscriptions as "Here, to work is to write," or "Here only what is written is understood." Such is the internal law of that which has constituted itself as "Western." (De Certeau 1984, 134). <br />
Decolonial scholar Boaventura de Sousa Santos asserts that colonial knowledge practices caused an epistemicide by destructing a variety of ways of knowing that prevailed in the colonial societies and sociabilities. Western concepts of authorship, according to him, have "little validity in the epistemologies of the South insofar as, for them, the most relevant knowledges are either immemorial or generated in the social experiences of oppression and the struggles against it. In any case, they are rarely traceable to a single individual. (de Sousa Santos 2018, 54). And Annelise Riles (2006) claims that exactly because documents can strip away context, because they draw their legitimization and authority from their permanence, transferability, facelessness and because they can be combined and organized in a number of different ways they are "artifacts of modern knowledge", a tool of accountability, and of social control.</ref><br />
<br />
<ref name= "Wellmon1"><br />
Published texts, according to Simon Shaffer and Steve Shapin (2011, 60), constituted "a virtual witness that was agreed to be reliable." And Wellmon and Piper argue:<br />
::In the light of being published, the value of a scholar's work was visible to all because it was subject to more public and, therefore, so went the reasoning, more rational standards. Published writing could be accounted for, whereas charismatic teaching or speaking was more difficult to evaluate and compare. [...] The authority of printed writing lay in its capacity to circulate more freely, unencumbered by the idiosyncrasies of the local and peculiar (Wellmon and Piper 2017). <br />
</ref><br />
<br />
<ref name= "Piracy Reader"> <br />
Quoted from the Piracy Reader, <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> (Francke and Weinmayr 2014, 7). [http://wiki.evaweinmayr.com/index.php/4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29 See Piracy Reader]<br />
</ref><br />
<br />
<ref name="Bayle">Such nonlinear literary experiments had been employed in the past, for instance, in Pierre Bayle's "Historical and Critical Dictionary" causing major disruptions in the understanding of authoritative texts at the time (1737). Likewise, Arno Schmitt used it as a literary device in Zettel's Dream (1970) to create several parallel-running narratives on one page.</ref><br />
<br />
<br />
<ref name="Joint pseudonyms"> "Luther Blissett" is a multiple-use name that was informally adopted and shared by hundreds of artists and activists across Europe and the Americas since the 1990s. Luther Blissett first appeared in Bologna, Italy, in mid-1994, when a number of cultural activists began using it for staging a series of urban and media pranks and to experiment with new forms of authorship and identity. "Karen Eliot" is a "name that refers to an individual human being who can be anyone. The name is fixed, the people using it aren’t. The purpose of many different people using the same name is to create a situation for which no one, in particular, is responsible and to practically examine western philosophical notions of identity, individuality, originality, value and truth.” [...] Anyone can become Karen Eliot simply by adopting the name, but they are only Karen Eliot for the period in which they adopt the name. “When one becomes Karen Eliot one’s previous existence consists of the acts other people have undertaken using the name. Karen Eliot was not born, s/he was materialized from social forces, constructed as a means of entering the shifting terrain that circumscribes the ‘individual’ and society.” (Döderlein 2013). See also Nicholas Thoburn’s (2016, 168–223) research into the political agency of anonymous authorship.</ref><br />
<br />
<ref name="Coleman">Anonymous started on 4chan, an online imageboard where users post anonymously. "The posts on 4chan have no names or any identifiable markers attached to them. The only thing you are able to judge a post by is its content and nothing else." (Coleman 2014, 47). See also John Cunningham (2010). </ref><br />
<br />
<ref name="Thoburn 4"><br />
Nicholas Thoburn points here towards Marx's thinking about "communal being" in "On the Jewish Question." Thoburn refers to Marx's conceptualization of a political sociality of the communal or the common. "The bourgeois individual of the modern state – the 'citizen,' the subject of the 'rights of man,' the 'possessive individual' as we know it since C. B. MacPherson – is premised on an opposition between individual and social existence." (Thoburn 2016, 178).</ref><br />
<br />
<ref name="Mark Rose 1"> Mark Rose provides a detailed historical inquiry into how the concept of authorship developed in Europe as a result of the spread of the book printing business following Johannes Gutenberg's invention of the movable type printing press. Two forces came into play with the printing press in the early modern period. One had to do with accountability and liability because one tended to "think of texts as actions." Because texts were valued “for what they could do” (Rose 1993, 13) and because printed books were assigned more authority than speech, legislation was put in place that each printed book needed an accountable author name assigned to it. In England, booksellers, printers, and authors needed to apply for "printing privileges" for each title. Via the guild, the so-called Stationers Company, the English crown was in control of what was deemed acceptable for publishing and circulation. Through a royal charter (1557), the crown granted the guild a monopoly on printing. However, according to Rose, "the primary interest of the state in granting this monopoly was not, however, the securing of stationers' property rights, but the establishment of a more effective system for governmental surveillance of the press."(Rose 1992, 12). Or in Mario Biagioli's words, "Books could not be published without the name of the author, of the printer, and the printer's address because the police needed to know on what door to knock if that book was deemed subversive." (Biagoli 2006, 140).<br/><br />
<br />
Only a later development, turned texts into "aesthetic objects." Here an individual "someone" was needed, a creator that came to be attached to notions of originality, genius, and therefore property. See: Mark Rose, ''Authors and Owners, The Invention of Copyright'' (Cambridge, MA and London: Harvard University Press, 1993). For further exploration of the relationship between authorship and ownership, intellectual property and copyright see Aufderheide, Patricia, Peter Jaszi, Bryan Bello and Tijana Milosevic "Copyright, Permissions, and Fair Use Among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report" (New York: College Art Association, 2014). Lionel, Bently, "Copyright and the Death of the Author in Literature and Law," ''Modern Law Review 57'' (1994): 973–86. Carys J. Craig "Symposium: Reconstructing the Author-Self: Some Feminist Lessons for Copyright Law," ''American University Journal of Gender, Social Policy & the Law 15.2'' (2007): 207–68. Deborah J. Halbert, ''Resisting Intellectual Property'' (London, Routledge, 2005). Eva Hemmungs Wirtén, ''No Trespassing, Authorship, Intellectual Property Rights and the Boundaries of Globalization'' (Toronto: University of Toronto Press, 2004). Jennifer Nedelsky, "Reconceiving Rights as Relationship," ''Review of Constitutional Studies / Revue d’études constitutionnelles 1.1'' (1993): 1–26, https://www.law.utoronto.ca/documents/nedelsky/Review1.1Nedelsky.pdf. Nicholas Thoburn, ''Anti-Book, On the Art and Politics of Radical Publishing'' (Minneapolis and London: University of Minnesota Press, 2016). Martha Woodmansee and Peter Jaszi, eds., ''The Construction of Authorship, Textual Appropriation in Law and Literature'' (Durham and London: Duke University Press, 1994).</ref><br />
<br />
<ref name="ultraright"> We see these tactics used by underground movements across the political spectrum, from the radical left, anarchist as well as more recently by the far-right. See “Infiltration” (Cramer, Home and Bazzichelli 2018); and <i>Post-Digital Cultures of the Far-Right: Online Actions and Offline Consequences in Europe and the US</i> (Fielitz and Thurston 2019). </ref><br />
<br />
<ref name=" Weinmayr–Confronting"><br />
In the chapter I argue: <br />
::This text is informed by a myriad of encounters in panel discussions and debates, as well as in the classrooms supported by institutions, activist spaces and art spaces. All these people donated their valuable ideas to its writing. Various drafts have been read and commented on by friends, PhD supervisors and an anonymous peer reviewer, and it has been edited by the publishers in the process of becoming part of the anthology you now hold in your hands or read on a screen. In that light, do I simply and uncritically affirm the mechanisms I am criticizing by delivering a single-authored text to be printed and validated within the prevailing audit culture?” (Weinmayr 2019, 297-98)</ref><br />
<br />
<ref name="Barthes 1"> Barthes' influential claim about the "Death of the Author" proposes to shift the agency of a text from the author to the reader, from intention to interpretation or in Barthes' words: from "writerly texts" to "readerly texts." For Barthes neither the author's personality nor his/her history or empirical body, is in focus, instead "it is language which speaks, not the author; to write is [...] to reach that point where only language acts, performs, and not 'me'". (Barthes 1974; 1990, 143). </ref><br />
<br />
<br />
<ref name=" Foucault 125"><br />
Foucault explains<br />
::The 'author-function' is not universal or constant in all discourse. Even within our civilization, the same types of texts have not always required authors; there was a time when those texts which we now call 'literary' (stories, folk tales, epics, and tragedies) were accepted, circulated, and valorized without any question about the identity of their author. Their anonymity was ignored because their real or supposed age was a sufficient guarantee of their authenticity. Texts, however, that we now call 'scientific' (dealing with cosmology and the heavens, medicine or illness, the natural sciences or geography) were only considered truthful during the Middle Ages if the name of the author was indicated. Statements on the order of 'Hippocrates said...' or 'Pliny tells us that...' were not merely formulas for an argument based on authority; they marked a proven discourse. In the seventeenth and eighteenth centuries, a totally new conception was developed when scientific texts were accepted on their own merits and positioned within an anonymous and coherent conceptual system of established truths and methods of verification. Authentification no longer required reference to the individual who had produced them; the role of the author disappeared as an index of truthfulness and, where it remained as an inventor's name, it was merely to denote a specific theorem or proposition, a strange effect, a property, a body, a group of elements, or pathological syndrome. At the same time, however, 'literary' discourse was acceptable only if it carried an author's name." (Foucault 1980, 125–26)</ref><br />
<br />
<ref name= "Ahmed 6"> <br />
This feminist and postcolonial perspective criticises the detachment of writing from the empirical body: <br />
::the universalism of the masculine perspective relies precisely on being disembodied, on lacking the contingency of a body. A feminist perspective would surely emphasize the implication of writing in embodiment, in order to re-historicize this supposed universalism, to locate it, and to expose the violence of its contingency and particularity (by declaring some-body wrote this text, by asking which body wrote this text). (Ahmed 2004, 123)</ref><br />
<br />
<ref name="Lipsitz"> George Lipsitz says “Living with contradictions is difficult, and, especially for intellectuals and artists employed in academic institutions, the inability to speak honestly and openly about contradictory consciousness can lead to a destructive desire for “pure” political positions, to militant posturing and internecine battles with one another that ultimately have more to do with individual subjectivities and self-images than with disciplined collective struggle for resources and power.” (Lipsitz 2000, 80).</ref><br />
<br />
<br />
<ref name="etymology author"> See Hensleigh Wedgwood, ''English Etymology'', (London: Trübner & Co, 1872), 32. Walter W. Skeat, ''Oxford Concise Dictionary of English Etymology'' (1882), republished (London: Forgotten Books, 2013), 32. And for a more detailed discussion, see ''etymonline'', https://www.etymonline.com/word/author.</ref><br />
<br />
<ref name="Biagioli 1" > See Mario Biagioli's discussion of the analogies between the concept of the author and the father/progenitor in the framework of patriarchy. Biagioli investigates plagiarism not as a violation of intellectual property but of the kinship relationships between the author and his work. He traces back historical instances where plagiarism was perceived as the loss of the ownership (sic) of a child, "not just as a biological father but as paterfamilias." Hence, "the author is not simply deprived of an object of property but ‘loses control’ of the child, with a subsequent reduction of his personhood." (Biagioli 2014, 67)</ref><br />
<br />
<br />
<ref name="altmetrics"><br />
These current politics of metrification have been criticized by many scholars in the Humanities and Sciences as too restrictive and inadequate to fully capture the impact of research. The argument goes that only a limited set of academic journals are considered as a source for citation statistics. Therefore some scholars engaged in the arguably progressive step of widening the range of sources to be evaluated and counted by launching "Altmetric". Altmetric measures a broad spectrum of "web reactions" to publications by calculating the attention score on social networks such as Facebook, microblogging services such as Twitter, video platforms such as YouTube, and other media outlets. Based on an undisclosed algorithm, the Altmetric score is visualized in the form of so-called "badges" that quantify responses to and interactions with published material. While this innovation certainly opens the convention of what can be validated as output, I would claim it still adheres to a logic of mere calculation. https://www.altmetric.com/</ref><br />
<br />
<ref name="research points" > The point system laid out in the steering document for artistic research at Gothenburg University (2018) lists:</br><br />
Book (or equivalent), published by national or international publishers > 5 points</br><br />
Artistic work (peer reviewd) > 5 points</br><br />
Article, peer-reviewed (scientific / artistic) > 3 points</br><br />
Conference contribution (scientific / artistic) peer reviewed > 2 points</br><br />
Article (scientific / artistic) > 1 point</br><br />
Research Summary > 1 point</br><br />
Chapter in book (or equivalent), published by national or international publisher. Also editorial for book > 1 point</br><br />
Artistic work > 1 point</ref><br />
<br />
<ref name="Long2"> The Humane Metrics Initiative (HuMetricsHSS) at Michigan University proposes to evaluate scholarship along five criteria that are central to all humanities and social science disciplines: "equity, openness, collegiality, quality, and community." They propose to develop dense networks of reciprocal mentoring through which senior scholars nurture the success of their junior colleagues. https://humetricshss.org/ See also Christopher P. Long, "Toxicity, Metrics and Academic Life," ''Human Metrics, Metrics Noir'', edited by Meeson Press, Eileen Joy, Martina Frantzen, and Cristopher P. Long (Coventry: Postoffice Press, 2018). Published on the occasion of the conference ''Radical Open Access II – The Ethics of Care'' taking place June 26–27, 2018 at the Centre for Postdigital Cultures, Coventry University. http://radicaloa.co.uk/conferences/ROA2/ [https://core.ac.uk/download/pdf/159489475.pdf Download publication]</ref><br />
<br />
<ref name="Reading groups"> The contexts I am aware of in which the book has been used include [http://www.laborfuerkunstundforschung.de/#workshops “Feminist Arts Education”], at the Institute for Art and Art Theory, Cologne University, 2017. And “Feminist Pedagogies” at Cologne University, [https://www.arts.ac.uk/colleges/central-saint-martins/whats-on-at-csm/lethaby-gallery/lethaby-gallery-2019/madame-b-explorations-in-emotional-capitalism Madame B Reading Group, Central Saint Martins, University of the Arts London]</ref><br />
<br />
<ref name="Events"> For instance, “What is an Artschool”, Symposium, Chelsea College of Art, London, 2016; “Exploiting Justice”, Symposium, Centre for Interdisciplinary Gender Research, University of Gothenburg, 2016; “Feminist Arts Education”, Workshop, Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University, 2017.</ref><br />
<br />
<ref name="student initiatives">Student initiatives include the Autotheory Inquiry Group, the Queer Reading Group, Color Island working group, to name just a few.</ref><br />
<br />
<ref name="conferences"> A range of public events focused on decolonial and intersectional feminist topics in pedagogy. They include “Critical Practice” conference (2015); KUNO seminar “Inclusive Actions–Art Schools Imagining Desegregation?” (2017); PARSE Biennial Conference “Exclusion" (2016); “Decolonising Film Education" (2019).</ref><br />
<br />
<br />
<ref name="Barad diffraction"> Barad explains, "It might seem a bit odd to enlist an organic metaphor to talk about diffraction, an optical phenomenon that might seem lifeless. But diffraction is not only a lively affair but one that troubles dichotomies, including some of the most sedimented and stabilized/stabilizing binaries, such as organic/ inorganic and animate/inanimate. Indeed, the quantum understanding of diffraction troubles the very notion of dichotomy – cutting into two – as a singular act of absolute differentiation, fracturing this from that, now from then." (Barad 2014, 168).</ref><br />
<br />
</references></div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116244 Summary of projects and submitted material2021-04-15T19:16:15Z<p>Eva: /* Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker (April–August 2018) */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_The_Piracy_Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|link=|thumb|left|Street vendor, Lima Peru, 2010. Photo: Andrea Franke.]]<br />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|see project 4: Let's Mobilize: What is Feminist Pedagogy?}}<br />
[[File: Let's mobilize Valand Academy Forum 8c.jpg |400px|link=|thumb|left|Let's Mobilize: What is Feminist Pedagogy?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.jpg|400px|link=|thumb|left|Unboxing, AND Research Residency, Marabouparken konsthall, Stockholm April–August 2018]]<br />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116234 Summary of projects and submitted material2021-04-15T19:15:56Z<p>Eva: /* Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg (2015–16) */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_The_Piracy_Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|link=|thumb|left|Street vendor, Lima Peru, 2010. Photo: Andrea Franke.]]<br />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|see project 4: Let's Mobilize: What is Feminist Pedagogy?}}<br />
[[File: Let's mobilize Valand Academy Forum 8c.jpg |400px|link=|thumb|left|Let's Mobilize: What is Feminist Pedagogy?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116224 Summary of projects and submitted material2021-04-15T19:15:27Z<p>Eva: /* The Piracy Project – with Andrea Francke and multiple collaborators (2010–2015) */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_The_Piracy_Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|link=|thumb|left|Street vendor, Lima Peru, 2010. Photo: Andrea Franke.]]<br />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116214 Summary of projects and submitted material2021-04-15T19:13:59Z<p>Eva: /* The Piracy Project – with Andrea Francke and multiple collaborators (2010–2015) */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_The_Piracy_Project|see project 3: The Piracy Project}}<br />
[[File:Piracy Project vendor-Lima.jpg|400px|thumb|left|Street vendor, Lima Peru, 2010. Photo: Andrea Franke.]]<br />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=7_References&diff=116207 References2021-01-15T11:45:41Z<p>Eva: /* Resources */</p>
<hr />
<div><br />
This page compiles the resources that I have used (i) in my collaborative practice projects, (ii) consulted for the range of the already circulating published works, and (iii) for the writing of the kappa. It goes beyond the strict "cited sources" list since it includes materials that have indirectly informed my practice or thinking. These mapped works circulate in different contexts: academic, activist, community, art – in short, outside and inside academia. Where possible I linked to their sources for reading or download, or uploaded the documents directly to this wiki database. As such, this section extends, to a degree, the concept of bibliography and operates partly as an archive.<br />
<br />
=Resources=<br />
<br />
Adema, Janneke, and Gary Hall. "The Political Nature Of The Book: On Artists’ Books And Radical Open Access." <i>New Formations</i>, vol. 78, no. 1 (2013): 138–56. https://doi.org/10.3898/NEWF.78.07.2013. [https://curve.coventry.ac.uk/open/file/bec7fd48-e138-4bb1-840e-bc664e3e6ca1/1/The%20political%20nature%20of%20the%20book.pdf PDF].<br /><br />
<br />
Adema Janneke, and Samuel A. Moore. "Collectivity and collaboration: imagining new forms of communality to create resilience in scholar-led publishing." <i>Insights</i> 31: 3 (2018). https://doi.org/10.1629/uksg.399. <br /><br />
<br />
Adema, Janneke. "Scanners, collectors and aggregators. On the underground movement of (pirated) theory text sharing", <i>Open Reflections</i>, September 20, 2009. https://openreflections.wordpress.com/2009/09/20/scanners-collectors-and-aggregators-on-the-%E2%80%98underground-movement%E2%80%99-of-pirated-theory-text-sharing/. <br /><br />
<br />
———.<i>Radical Open Access – Building Horizontal Alliances </i>, (2018).<br />
https://radicaloa.disruptivemedia.org.uk/tag/janneke-adema/. <br /><br />
<br />
Ahmed, Sara. "Making Feminist Points." <i>Feminist Kill Joys</i>, November 11, 2013. https://feministkilljoys.com/2013/09/11/making-feminist-points/. <br /><br />
<br />
———. "White Men." <i>Feminist Kill Joys</i>, April 11, 2014. https://feministkilljoys.com/2014/11/04/white-men/. <br /><br />
<br />
———. <i>Differences That Matter – Feminist Theory and Postmodernism</i>. Cambridge: Cambridge University Press, 2004. <br /><br />
<br />
Alarcon, Daniel. "Life amongst the Pirates". <i>Granta 109: Work</i>, January 14, 2010. https://granta.com/life-among-the-pirates. <br/><br />
<br />
Alperin, J.P., C. Muñoz Nieves, L. Schimanski, G.E. Fischman, M.T. Niles, and E.C. McKiernan. "How significant are the public dimensions of faculty work in review, promotion, and tenure documents?," <i>eLife</i>, February 12, 2019. https://doi.org/10.7554/eLife.42254.003. <br /><br />
<br />
Altmetric. https://www.altmetric.com/. <br /><br />
<br />
AND Publishing Guestroom Residency, Marabouparken konsthall, Stockholm, April–August 2018. http://marabouparken.se/and-publishing/?lang=en. <br /><br />
<br />
AND Publishing, The Piracy Project. http://andpublishing.org/?s=the+piracy+project.<br /><br />
<br />
AND Publishing. "AND Publishing announces Piracy Lectures". <i>art-agenda</i>, May 4, 2011. https://www.art-agenda.com/shows/and-publishing-announces-the-piracy-lectures. <br /><br />
<br />
Art Metropole, Toronto. https://artmetropole.com/. <br /><br />
<br />
Atton, Chris. "The infoshop: the alternative information centre of the 1990s." <i>New Library World</i>, vol. 100, no. 1146 (1999): 24–29. <br /><br />
<br />
———. "Infoshops in the Shadow of the State." In <i>Contesting Media Power: Alternative Media in a Networked World</i>, edited by N. Couldry and J. Curran, 57–69. Lanham: Rowman & Littlefield Publishing, 2003.<br /><br />
<br />
<i>Art-Rite</i> magazine, winter/spring 1975/1976.<br /><br />
<br />
<i>Art-Rite</i> magazine, winter/spring 1976/1977. [http://wiki.evaweinmayr.com/images/a/a3/Art-Rite_no14_excerpt.pdf. PDF] <br /><br />
<br />
Atria – Institute on gender equality and women's history.<br />
"Women Thesaurus." https://institute-genderequality.org/library-archive/thesaurus/. <br /><br />
<br />
Aufderheide, Patricia, Peter Jaszi, Bryan Bello, and Tijana Milosevic. <i>Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report</i>. New York: College Art Association, 2014. https://www.collegeart.org/pdf/FairUseIssuesReport.pdf. <br /><br />
<br />
Bailey, Olga, Bart Cammaerts, and Nico Carpentier. <i>Understanding Alternative Media</i>. Maidenhead: Open University Press, 2008.<br /><br />
<br />
Baines, Jess. "Free Radicals". <i>Afterall</i>, January 28, 2010. http://www.afterall.org/online/radical.printmaking.<br /><br />
<br />
———. <i>Democratising Print</i>. PhD diss., London School of Economics, 2016.<br /><br />
<br />
———. "Experiments in democratic participation: feminist printshop collectives". <i>Cultural Policy, Criticism & Management Research</i>, vol. 6 (Autumn, 2012): 29–51. https://culturalpolicyjournal.wordpress.com/past-issues/issue-no-6/feminist-printshop-collectives/. <br /><br />
<br />
Baldessari, John. <i>Art-Rite</i> magazine, 1976/1977. <br /><br />
<br />
Barad, Karen. "Diffracting Diffraction: Cutting Together-Apart". <i>Parallax</i>, 20:3, (2014): 168–87. https://doi.org/10.1080/13534645.2014.927623. <br /><br />
<br />
———. "Nature's Queer Performativity", <i>Kvinder, KØN & Forskning</i> 46, 1-2, (2012): 25–53, https://tidsskrift.dk/KKF/article/view/28067. <br /><br />
<br />
Barok, Dušan, ed. <i>Monoskop Reader</i>. Produced for the exhibition "Open Scores", Panke Gallery, Berlin, 2019. In the context of the research project "Creating Commons", ZHdK Zurich convened by Cornelia Sollfrank, Shusha Niederberger, and Felix Stalder. http://creatingcommons.zhdk.ch/reader-on-shadow-artistic-independent-autonomous-digital-libraries/. <br /><br />
<br />
Barthes, Roland. "The Death of the Author". In <i>Image Music Text</i>, edited and translated by Stephen Heath, 142–49. London: Fontana Paperbacks, [1967] 1990.<br /><br />
<br />
———. <i>S/Z</i>. Translated by Richard Howard. New York: Hill and Wang, 1974. <br /><br />
<br />
Basile, Jonathan. "Who’s Afraid of AAARG." <i>Guernica Magazine</i> (August 25, 2016). https://www.guernicamag.com/jonathan-basile-whos-afraid-of-aaarg/. <br /><br />
<br />
Bateson, Gregory. <i>Steps to an Ecology of Mind</i>. San Francisco: Jason Aronson, 1972. <br /><br />
<br />
Bathurst Judge, Cyril. <i>Elizabethan book-pirates</i>. Cambridge: Harvard University Press, 1934.<br /><br />
<br />
Bayle, Pierre. <i>The Dictionary Historical and Critical of Mr. Peter Bayle</i>. London, 1737 (2nd edition). <br /><br />
<br />
Benjamin, Walter. "Unpacking my Library: A Talk about Book Collecting." In <i>Illuminations</i>, translated by Harry Zohn, edited and with an introduction by Hannah Arendt, 59–67. New York: Schocken Books, 1969. <br /><br />
<br />
Bently, Lionel. "Copyright and the Death of the Author in Literature and Law." <i>Modern Law Review</i>, 57 (1994): 973–86.<br /><br />
<br />
Bently, Lionel, Andrea Francke, Sergio Muñoz Sarmiento, Prodromos Tsiavos, Eva Weinmayr, and the audience. "A Day at the Courtroom." In <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr, 91–133. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Bently, Lionel, Jennifer Davis, and Jane C. Ginsburg, eds. <i>Copyright and Piracy: An Interdisciplinary Critique</i>. Cambridge: Cambridge University Press, 2010. <br /><br />
<br />
Berman, Sanford. <i>Prejudices and Antipathies: A Tract on the LC Subject Heads Concerning People</i> (1971). Reprint, London: McFarland & Co, 1993. <br /><br />
<br />
Biagioli, Mario. "Documents of Documents". In <i>Documents, Artifacts of Modern Knowledge</i>, edited by Annelise Riles, 127–57. Ann Arbor: The University of Michigan Press, 2006. <br /><br />
<br />
———."Plagiarism, Kinship and Slavery". <i>Theory Culture Society</i>, 31(2/3) (2014): 65–91. https://doi.org/10.1177/0263276413516372. <br /><br />
<br />
Bird, Greg, and Jonathan Short. "Community, Immunity, and the Proper – an introduction to the political theory of Roberto Esposito." <i>Angelaki, Journal of the Theoretical Humanities</i>, vol. 18, no. 3 (September 2013): 1–12.<br /><br />
<br />
Bishop, Claire. "The Social Turn: Collaboration and Its Discontents". <i>Artforum</i> (February, 2006). <br /><br />
<br />
Bodó, Balazc. "Libraries in the post-scarcity era." In <i>Copyrighting Creativity: Creative Values, Cultural Heritage Institutions and Systems of Intellectual Property</i>, edited by Helle Porsdam, 75–92. Farnham: Ashgate, 2015. https://www.semanticscholar.org/paper/Libraries-in-the-Post-Scarcity-Era-Bodo/934cf6b47a4d6e9b765d378ddf74f01364f821c5?p2df. <br /><br />
<br />
Bowker, Geoffrey C., Stefan Timmermans, Adele E. Clarke, Ellen Balka, eds. <i>Boundary Objects and Beyond – Working with Leigh Star</i>. Cambridge MA: The MIT Press, 2016. <br /><br />
<br />
Bränström, Helena, and Elsa Modin. "Women are not a subject – subject indexing at Kvinnohistoriska samlingarna." MA thesis, Bibliotekshögskolan Boras, 1998.<br /><br />
<br />
Briet, Suzanne. <i>Qu'est-ce que la documentation?</i> EDIT: Paris, 1951. (English edition, translated and edited by Ronald E. Day and Laurent Martinet with Hermina G. B. Anghelescu. Lanham, MD: Scarecrow Press, 2006.) https://monoskop.org/log/?p=11894. <br /><br />
<br />
Buckland, Michael K. "What is a Document." <i>Journal of the American Society for Information Science</i>, vol. 48, issue 9 (September 1997): 804–09.<br /><br />
<br />
Butler, Judith. <i>Notes Toward A Performative Theory of Assembly</i>. Cambridge MA: Harvard University Press, 2015. <br /><br />
<br />
Candea, Matei, ed. <i>The Social after Gabriel Tarde: Debates and Assessments</i>. London: Routledge, 2010. <br /><br />
<br />
Cella, Bernhard, Leo Findeisen, and Agnes Blaha <i>no isbn</i>. Vienna: Salon für Kunstbuch, 2015. <br /><br />
<br />
Center for an Urban Future. <i>Branches of Opportunity</i>. New York City: Jan 2013. https://nycfuture.org/pdf/Branches_of_Opportunity.pdf. <br /><br />
<br />
Chang, Yi-Ting, Litzy Galarza, Mercer Gary, Erika Grimm, Ryan Lenau, Cynthia Marrero-Ramos, and Kierstan Thomas. “Lugones Lexicon." This lexicon was produced by the graduate students in the seminar, “Feminism, Intersectionality, Decolonialism: The Work of María Lugones,” co-taught by Nancy Tuana and Emma Velez in fall 2017. Penn State University, 2018. https://sites.psu.edu/lugonesconference/files/2014/11/Lugones-Lexicon-25rjap6.pdf. <br /><br />
<br />
Chatterjee, Piya, and Sunaina Maira, eds. <i>The Imperial University, Academic Repression and Scholarly Dissent</i>. Minneapolis: University of Minnesota Press, 2014. <br /><br />
<br />
Choi, Binna, Annette Krauss, Yolande van der Heide, and Liz Allan, eds. <i>Unlearning Exercises – Art Organizations as Sites for Unlearning</i>. Amsterdam: Valiz; Utrecht: Casco Art Institute/Working for the Commons, 2018.<br />
<br />
Coleman, Gabriella. <i>Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous</i>. London and New York: Verso, 2014.<br /><br />
<br />
Constant, eds. <i>I think that conversations are the best, biggest thing that Free Software has to offer its user</i>. Brussels: Constant, 2015. https://conversations.tools/.<br /><br />
<br />
Constant, eds. <i>Mondotheque – A Radiated Book</i>. Brussels: Constant, 2016. [https://monoskop.org/images/9/94/Mondotheque_A_Radiated_Book_Un_livre_irradiant_Een_irradierend_boek_2016.pdf PDF.] <br /><br />
<br />
Constant, eds. "Omissum". Brussels: Constant, 2020. https://constantvzw.org/site/Paul-Otlet-Een-Omissum.html. <br /><br />
<br />
Constant, eds. <i> Are you being served</i>. Brussels: Constant 2015. https://areyoubeingserved.constantvzw.org/. <br /><br />
<br />
Cooper, Charlotte. "Research Justice Diagram." In <i>Let's Mobilize: What is Feminist Pedagogy?</i>. Gothenburg: HDK-Valand, 2018, 35. br /><br />
<br />
Couldry, Nick, and James Curran. <i>Contesting Media Power: Alternative Media in a Networked World</i>. Lanham: Rowman & Littlefield, 2003.<br /><br />
<br />
Craig, Carys J. "Symposium: Reconstructing the Author-Self: Some Feminist Lessons for Copyright Law." <i>American University Journal of Gender, Social Policy & the Law</i>, Issue 15, no. 2 (2007): 207–68. <br /><br />
<br />
Craig, Carys J., and Joseph F. Turcotte, with Rosemary J. Coombe. "What’s Feminist about Open Access? A Relational Approach to Copyright in the Academy", <i>feminists@law: An Open Access Journal of Feminist Legal Scholarship</i>, vol. 1, no. 1 (2011): 1–35. <br /><br />
<br />
Cramer, Florian. "Unbound Books: Bound Ex Negativo", presentation at "The Unbound Book", Institute for Network Cultures, Hogeschool van Amsterdam, May 20, 2012. https://vimeo.com/24308435, podcast. <br/><br />
<br />
Cramer, Florian, Stewart Home, and Tatiana Bazzichelli. "Infiltration." Performance lecture at "Disruption Network Lab #14," Berlin, September 27, 2018. https://www.youtube.com/watch?v=gBSLrwTdJzs&t=3738s. <br /><br />
<br />
Cullen, Kevin, and John Ellement. "MIT hacking case lawyer says Aaron Swartz was offered plea deal of six months behind bars". <i>Boston Globe</i>, January 14, 2013. https://www.boston.com/uncategorized/noprimarytagmatch/2013/01/14/mit-hacking-case-lawyer-says-aaron-swartz-was-offered-plea-deal-of-six-months-behind-bars. <br/><br />
<br />
Culture Machine and Post Office Press, eds.<i>The Geopolitics of Open</i>. Coventry: Centre for Postdigital Cultures, Coventry University, 2018. <br />
http://radicaloa.disruptivemedia.org.uk/conferences/roa2/the-geopolitics-of-open/. <br /><br />
<br />
Cunningham, John. "Clandestinity and Appearance". <i>Mute Magazine </i>, July 8, 2010. http:// www.metamute.org/editorial/articles/clandestinity-and-appearance. <br /><br />
<br />
Cusiquanci, Silvia Rivera, El Colectivo 2, La Paz-Chukiyawu. "A Stroll through the Colonial Library", unpublished paper presented at the conference "Dis/Locating Culture: Narratives and Epistemologies of Displacement", Houston, Rice University, December 9–10, 2011. https://www.academia.edu/7338101/A_stroll_through_the_Colonial_Library. <br /><br />
<br />
Cutter, Charles A. <i>Rules for a Dictionary Catalogue</i>, 4th ed. London: Library Association, [1904] 1962. <br /><br />
<br />
de Certeau, Michel. <i>A Practice of Everyday Life</i>. Berkeley and Los Angeles: University of California Press, 1984. <br /><br />
<br />
Dath, Caroline. "How to hack Study Regulations." <i>Mai: Feminism and Visual Culture, special focus #5: Feminist Pedagogies</i>, January 2020. https://maifeminism.com/issues/issue-5-feminist-pedagogies/. <br /><br />
<br />
Dean, Jodi, Sean Dockray, Alessandro Ludovico, Pauline van Mourik Broekman, Nicholas Thoburn, and Dmitry Vilensky. "Materialities of Independent Publishing: A Conversation with AAAAARG, Chto Delat?, I Cite, Mute, and Neural". <i>New Formations</i> 78, (August 2013): 157–78. https://chtodelat.org/b5-announcements/a-7/materialities-of-independent-publishing-a-conversation-with-aaaaarg-chto-delat-i-cite-mute-and-neural/. <br /><br />
<br />
De Jong, Sara, and Sanne Koevoets, eds. <i>Teaching Gender with Libraries and Archives: The Power of Information</i>. Budapest: Central European University Press, 2013. <br /><br />
<br />
Dekker, Annet. "Copying as a Way to Start Something New. Annet Dekker in Conversation with Dušan Barok About Monoskop." In <i>Lost and Living (in) Archives</i>, edited by Annet Dekker, 175–90. Amsterdam: Valiz, 2017. [https://monoskop.org/images/1/11/Dekker_Annet_ed_Lost_and_Living_in_Archives_2017.pdf PDF]. <br /><br />
<br />
Deleuze, Gilles, and Claire Parnet. <i>Dialogues II</i>. New York: Columbia University Press, 1987. <br /><br />
<br />
Deleuze, Gilles, and Félix Guattari. <i>A Thousand Plateaus: Capitalism and Schizophrenia</i>. Translated by Brian Massumi. Minneapolis and London: University of Minnesota Press, 2005. <br /><br />
<br />
Deleuze, Gilles. "Letter to a Harsh Critic." In <i>Negotiations, 1972–1990</i>. New York: Columbia University Press, 1995. <br /><br />
<br />
de Sousa Santos, Boaventura. <i>The End of the Cognitive Empire – the coming of age of epistemologies of the south</i>. Durham and London: Duke University Press, 2018.<br /><br />
<br />
Dewey, Melvil. <i>Decimal Clasification and Relative Index</i>. 13th edition. Essex County, New York: Forest Press, 1932.<br /><br />
<br />
Di Franco, Karen. "The Library Medium." In <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke and Eva Weinmayr, 77–90. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Dockray, Sean, and Fiona Whitton. "The Public School", Los Angeles. http://thepublicschool.org/la. <br /><br />
<br />
Dockray, Sean. "Expanded Appropriation." Interview conducted by Cornelia Sollfrank, Berlin, 4 January 2013. In the context of the research project "Giving what you don’t have," Postmedialab, Leuphana University, Lüneburg. http://artwarez.org/projects/GWYDH/dockray.html, podcast.<br /><br />
<br />
Döderlein, Lousia. "16 Minds – Karen Eliot and Second Life". <i>InEnArt</i>, October 24, 2013. http://www.inenart.eu/?p=12244.<br />
<br />
Domela, Paul, and John Byrne, eds. <i>Martha Rosler Library</i>. Liverpool Biennal of Contemporary Art, 2008.<br /><br />
<br />
Douglas, Mary. <i>How Institutions Think</i>. Syracuse: Syracuse University Press, 1986. <br /><br />
<br />
Drabinski, Emily. "Queering the Catalog: Queer Theory and the Politics of Correction." <i>Library Quarterly</i>, 83.2, (2013): 94–111. <br /><br />
<br />
———. "Teaching the Radical Catalog." In <i>Radical Cataloging: Essays at the Front</i>, edited by K. R. Roberto. Jefferson, North Carolina: McFarland, 2008. http://www.emilydrabinski.com/wp-content/uploads/2012/06/drabinski_radcat.pdf.<br /><br />
<br />
———. "Gendered S(h)elves: Body and Identity in the Library". <i>Women & Environments International Magazine</i> 78/79; Platinum Periodicals (Fall 2009/Winter 2010): 16–20. http://www.emilydrabinski.com/wp-content/uploads/2012/06/emily_weimag.pdf. <br /><br />
<br />
Drucker, Joanna. "Collaboration without Object(s) in the Early Happenings". <i>Art Journal</i>. (Winter 1993): 51–58. <br /><br />
<br />
———. <i>The Century of Artists' Books</i>. New York: Granary Books, 2004.<br /><br />
<br />
Drumm, Michelle. "Naming the Love That Dare Not Speak Its Name: A Look at How Gays and Lesbians are Classified in the Dewey Decimal Classification." <i>Drumm</i>, April 10, 2000. http://drumm.info/naming-the-love/. <br /><br />
<br />
Eastside Projects. https://eastsideprojects.org/. <br /><br />
<br />
École de Recherche Graphique (erg), Brussles. <i>Proposal of study rules</i>, 2019. [http://wiki.evaweinmayr.com/images/c/cd/Erg_lereine_version270318.pdf French],[http://wiki.evaweinmayr.com/images/d/dd/Proposals_for_amendments_to_Study_Regulations_erg_Brussels.pdf English (translated by Caroline Dath.] <br /><br />
<br />
Eichhorn, Kate. <i>The Archival Turn in Feminism: Outrage in Order</i>. Philadelphia: Temple University Press, 2013. <br /><br />
<br />
Eisenstein, Elisabeth. <i>Printing Press as an Agent of Change</i>. Cambridge: Cambridge University Press, 1982. <br /><br />
<br />
Elbakyan, Alexandra. "Some facts on Sci-hub that Wikipedia gets wrong." <i>Engineuring</i>, July 2, 2017. https://engineuring.wordpress.com/2017/07/02/some-facts-on-sci-hub-that-wikipedia-gets-wrong/. <br /><br />
<br />
<i>Encyclopedia Britannica</i>, s.v. "Dewey Decimal System." https://www.britannica.com/science/Dewey-Decimal-Classification. <br /><br />
<br />
<i>English Words and Greek Cognates</i>. "Etymology of Pirate", March 2, 2012. http://ewonago.wordpress.com/2009/02/18/etymology-of-pirate. <br /><br />
<br />
Errejón, Íñigo, and Chantal Mouffe. <i>Podemos: In the Name of the People</i>. London: Lawrence & Wishart, 2016. <br /><br />
<br />
Esposito, Roberto. <i>Communitas: The Origin and Destiny of Community</i>. Translated by Timothy C. Campbell. Stanford: Stanford University Press, 2010. <br /><br />
<br />
———. <i>Terms of the political – Community, Immunity, Biopolitics</i>. Translated by Rhiannon Noel Welch. New York: Fordham University Press, 2013. <br /><br />
<br />
———. "The Immunization Paradigm". <i>Diacritics</i> 36.2 (2006): 23–48.<br /><br />
<br />
Ettinger, Bracha L. <i>The Matrixial Borderspace</i>. Theory Out Of Bounds 28. Minneapolis: University of Minnesota Press, 2006. <br /><br />
<br />
Evergreen. Open-source library software. http://evergreen-ils.org/. <br /><br />
<br />
Feminist Pedagogy Working Group (Rose Borthwick, Kanchan Burathoki, MC Coble, Andreas Engman, and Eva Weinmayr), eds. <i>Let's Mobilize: What is Feminist Pedagogy workbook</i>. Gothenburg: HDK-Valand; London: AND Publishing, 2016. http://whatisfeministpedagogy.tumblr.com/workbook. <br /><br />
<br />
Feminist Search Tool. https://feministsearchtool.nl/. <br /><br />
<br />
Ferreira da Silva, Denise and Arjuna Neumann. "Email correspondence between Arjuna Neuman and Denise Ferreira da Silva 2017–2018". London: The Showroom, n.d. https://www.theshowroom.org/system/files/062020/5ef3716252712a038b005fbc/original/email_correspondence_AN_DFDS.pdf?1599108851. <br /><br />
<br />
Fielitz, Maik, and Nick Thurston, eds. <i>Post-Digital Cultures of the Far-Right – Online Actions and Offline Consequences in Europe and the US</i>. Bielefeld: transcript-Verlag, 2019. https://library.oapen.org/handle/20.500.12657/27372.<br /><br />
<br />
Filipovic Elena. "If You Read Here… Martha Rosler's Library". <i>Afterall 15</i> (Spring/Summer 2007).<br /><br />
<br />
Fitzpatrick, Kathleen. <i>Generous Thinking The University and the Public Good</i>. Humanities Commons, 2018. https://generousthinking.hcommons.org. <br />
<br />
———. <i>Generous Thinking - A Radical Approach to Saving the University</i>. Baltimore: Johns Hopkins University Press, 2019. <br/><br />
<br />
Flood, Alison. "Britain has closed almost 800 libraries since 2010, figures show", <i>The Guardian</i>, December 6, 2019. https://www.theguardian.com/books/2019/dec/06/britain-has-closed-almost-800-libraries-since-2010-figures-show?CMP=fb_gu&utm_medium=Social&utm_source=Facebook&fbclid=IwAR1R4FJWQIXNYr6Wst2Lx85LvpVEQ8QUSD3GrsGmNyZp-th5TY_4YjTFojg#Echobox=1575619729/. <br /><br />
<br />
Foucault, Michel. "What is an Author?". In <i>Language, Counter-Memory, Practice: Selected Essays and Interviews</i>, edited by Donald F. Bouchard, 113–38. Ithaca, NY: Cornell University Press, 1980. <br /><br />
<br />
———. "Fantasia of the Library." In <i>Language, Counter-Memory, Practice: Selected Essays and Interviews</i>, edited by Donald F. Bouchard, 87–109. Ithaca, NY: Cornell University Press, 1977.<br /><br />
<br />
Francke, Andrea, and Ross Jardine. "Bureaucracy’s Labour: The Administrator as Subject." <i> Parse issue 5 – On Management</i>, edited by Erling Björgvinsson, Henric Benesch, Andrea Phillips, 2017. https://parsejournal.com/article/bureaucracys-labour-the-administrator-as-subject/. <br /><br />
<br />
Francke, Andrea, and Eva Weinmayr, eds. <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Translating, Cloning</i>. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Franklin Furnace. New York. http://www.franklinfurnace.org/. <br /><br />
<br />
Fraser, Nancy. "Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy." <i>Social Text</i>, no. 25/26, (1990), 56–80.<br /><br />
<br />
Freeman, Jo. "The Tyranny of Structurelessness, Why organizations need some structure to ensure they are democratic." 1972. http://struggle.ws/hist_texts/structurelessness.html. <br /><br />
<br />
Freire, Paulo. <i>Pedagogy of the Oppressed</i>. New York: Continuum, 2005. <br /><br />
<br />
Gallop, Jane. <i>Anecdotal Theory</i>. Durham, NC, and London: Duke University Press, 2002. <br /><br />
<br />
Gandhi, Leela. <i>The Common Cause, Postcolonial Ethics and the Practice of Democracy, 1900–1955</i>. Chicago and London: The University of Chicago Press, 2014. <br /><br />
<br />
Genette, Gérard. <i>Paratexts: Thresholds of interpretation</i>. Cambridge: Cambridge University Press, 1997. <br /><br />
<br />
Gilbert, Annette, ed. <i>Publishing as Artistic Practice</i>. Berlin and New York: Sternberg Press, 2016. <br /><br />
<br />
Ginzburg, Carlo. <i>Clues, Myths, and the Historical Method</i>. Baltimore: Johns Hopkins University Press, 1989. <br /><br />
<br />
Gitelman, Lisa. <i>Paper Knowledge, Toward a Media History of Documents</i>. Durham, NC, and London: Duke University Press, 2014. [https://library.memoryoftheworld.org/#/book/fd86dab6-960b-49a5-82bd-185c1e5bf12b PDF]. <br /><br />
<br />
Gothenburg University. <i>General Syllabus for Doctoral (third cycle) Education Leading to a Doctor of Philosophy in Artistic Practice at the University of Gothenburg, Reg. No. U2014/701</i>, 2014. [http://wiki.evaweinmayr.com/images/3/36/General-syllabus-PhD_in_Artistic-Practice.pdf PDF].<br /><br />
<br />
Greaney, Patrick. <i>Quotational Practices – Repeating the Future in Contemporary Art</i>. Minneapolis: University of Minnesota Press, 2014. <br /><br />
<br />
Gustavsson, Johanna, and Lisa Nyberg. <i>Do the right thing – A manual from MFK </i>. Malmö: Malmö Free University for Women, 2011. http://www.lisanyberg.net/do-the-right-thing-a-manual-from-mfk/. <br /><br />
<br />
Habermas, Jürgen. <i>Strukturwandel der Öffentlichkeit. Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft</i> [The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society]. Frankfurt: Suhrkamp, 1962.<br /><br />
<br />
Halbert, Deborah J. <i>Resisting Intellectual Property</i>. London: Routledge, 2005. <br /><br />
<br />
Hall, Gary. "#Mysubjectivation." <i>New Formations</i>,79 (2013): 83–102. https://www.lwbooks.co.uk/sites/default/files/nf79_06hall.pdf. <br /><br />
<br />
———. <i>Digitize This Book! The Politics of New Media, or Why We Need Open Access Now</i>. Minneapolis: University of Minnesota Press, 2008. [https://library.memoryoftheworld.org/#/book/3dda580f-378c-4111-aa93-6dd54b46ff29 PDF].<br /><br />
<br />
———. <i>Pirate Philosophy, for a Digital Posthumanities</i>. Cambridge MA and London: The MIT Press, 2016. [https://library.memoryoftheworld.org/#/book/25891f7c-6a8d-4362-a42c-d1eaa3b9ab7c PDF].<br /><br />
<br />
———. "The Inhumanist Manifesto". <i>Media Theory</i>, (August 2017): 168–78. http://journalcontent.mediatheoryjournal.org/index.php/mt/article/view/29>. <br /><br />
<br />
Hammersly Library. "Style Guide on Citation of Personal Communication." Western Oregon University. https://research.wou.edu/c.php?g=551307&p=3785503. <br /><br />
<br />
Haraway, Donna. "Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective". <i>Feminist Studies</i>, vol. 14, no. 3. (Autumn, 1988): 575–99. [https://monoskop.org/File:Haraway_Donna_1988_Situated_Knowledges_The_Science_Question_in_Feminism_and_the_Privilege_of_Partial_Perspective.pdf PDF].<br /><br />
<br />
———. "Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin." <i>Environmental Humanities</i> 6 (2015): 159–65. <br /><br />
<br />
———. <i>Staying with the Trouble – Making Kin in the Chthulucene</i>. Durham, NC, and London: Duke University Press, 2016.<br />
<br />
Harney, Stefano, and Fred Moten. <i>The Undercommons, Fugitive Planning and Black Study</i>. Wivenhoe, New York, Port Watson: Minor Compositions, 2013. https://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf.<br /><br />
<br />
Hayles, Katherine N. <i>How We Think: Digital Media and Contemporary Technogenesis</i>. Chicago: University of Chicago Press, 2012. <br /><br />
<br />
Heller-Roazen, Daniel. <i>The Enemy of All: Piracy and the Law of Nations</i>. New York: Zone Books, 2009. <br /><br />
<br />
Hemmungs-Wirtén, Eva. <i>No Trespassing, Authorship, Intellectual Property Rights and the Boundaries of Globalization</i>. Toronto: University of Toronto Press, 2004. <br /><br />
<br />
Himmelstein, Daniel S., Ariel Rodriguez Romero, Jacob G. Levernier, Thomas Anthony Munro, Stephen Reid McLaughlin, Bastian Greshake Tzovaras, Casey S. Greene. <br />
"Sci-Hub provides access to nearly all scholarly literature." <i>eLife</i>, March 2018. https://doi.org/10.7554/eLife.32822.001. <br /><br />
<br />
Surplus Library on Affect & Economic Exchange. http://thesurpluslibrary.com/about. <br /><br />
<br />
hooks, bell. <i>Teaching to transgress: education as the practice of freedom</i>. London: Routledge, 1994. <br /><br />
<br />
Huberman, Anthony. "Take Care." In <i>Circular Facts</i>, edited by Mai Abu ElDahab, Binna Choi and Emily Pethick. Berlin and New York: Sternberg Press, 2011. <br /><br />
<br />
Hume, Sarah. "Challenging Dewey: an Introduction", <i>Hack Library School</i>. September 17, 2015. https://hacklibraryschool.com/2015/09/17/challenging-ddc-an-introduction/. <br /><br />
<br />
Hume Sarah. Hack Library School. "Challenging Library of Congress Subject Headings (LCSH): an Introduction." <i>Hack Library School</i>. August 6, 2015. https://hacklibraryschool.com/2015/08/06/challenginglcsh/. <br /><br />
<br />
“Infrastructural Manœuvres”. Rietveld and Sandberg Library, Amsterdam. https://catalogue.rietveldacademie.nl/about.html.<br />
<br />
Iñigo Clavo, Maria. "Modernity vs. Epistemodiversity." <i>e-flux journal</i>, no. 73, May 2016. https://www.e-flux.com/journal/73/60475/modernity-vs-epistemodiversity/.<br /><br />
<br />
Izquierdo Arroyo, J. M. <i>La organizacion documental del conocimiento</i>. Madrid: Tecnidoc, 1995.<br /><br />
<br />
Johns, Adrian. <i>The Nature of the Book</i>. Chicago and London: The University of Chicago Press, 1998. <br /><br />
<br />
———. <i>Piracy: The Intellectual Property Wars from Gutenberg to Gates</i>. Chicago: University of Chicago Press, 2010. <br /><br />
<br />
Karaganis, Joe, ed. <i>Shadow Libraries – Access to Knowledge in Global Higher Education</i>. Cambridge MA and London: The MIT Press, 2018. [https://monoskop.org/images/f/f5/Karaganis_Joe_ed_Shadow_Libraries_Access_to_Knowledge_in_Global_Higher_Education_2018.pdf PDF] <br /><br />
<br />
———.<i>Media Piracy in Emerging Economies</i>, Social Science Research Council, 2011. [https://monoskop.org/images/f/f6/Karaganis_Joe_ed_Media_Piracy_in_Emerging_Economies_2011.pdf PDF].<br />
<br />
Keep it Complex – Make it Clear. https://makeitclear.eu/. <br /><br />
<br />
Kelly, Susan. "The Transversal and the Invisible: How do You Really Make a Work of Art that Is not a Work of Art?". <i>Transversal</i>, 1 (2005). http://eipcp.net/transversal/0303/kelly/en. <br /><br />
<br />
———. "'But that was my idea!' Problems of Authorship and Validation in Contemporary Practices of Creative Dissent". <i>Parallax</i> 19.2 (2013): 53–69. https://doi.org/10.1080/13534645.2013.778496. [http://wiki.evaweinmayr.com/images/a/ad/Kelly_Susan_Parallax_version_But_that_was_my_idea_Problems_of_Authorship_and_Validation_in_Contemporary_Practices_of_Creative_Dissent.pdf PDF].<br /><br />
<br />
Kelty, Christopher. "Recursive Publics and Open Access." In <i>Guerrilla Open Access</i>, edited by Memory of the World. Coventry: Post Office Press, Rope Press, 2018. https://radicaloa.disruptivemedia.org.uk/conferences/guerrilla-open-access-memory-of-the-world/. <br /><br />
<br />
Kember, Sarah. "Why Publish?". <i>Learned Publishing</i>, 29: 348-353. https://doi.org/10.1002/leap.1042. [added Jan 15, 2021]<br/><br />
<br />
Kember, Sarah, and Eva Weinmayr. <i>Rethinking where the thinking happens</i>. London: AND Publishing, 2015. http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/. <br /><br />
<br />
Kember, Sarah, and Joanna Zylinska. <i>Life after New Media – Mediation as a Vital Process</i>. Cambridge MA and London: The MIT Press, 2012. <br /><br />
<br />
Khonsary, Jeff, and Kristina Lee Podesva, eds. <i>Institutions by Artists</i>. Vancouver: Fillip Editions, 2012. <br /><br />
<br />
Kiesewetter, Rebekka, "Publishing as a Processual Device." <i>Šibenik Alternating Currents – Publishing Acts II</i>. Pula: DAI-SAI, 2019. https://publishingacts.eu/12/. <br /><br />
<br />
König, René, and Miriam Rasch, eds. <i> Society of the Query Reader – Reflections on Web Search</i>. Amsterdam: Institute of Network Cultures, 2014.<br /><br />
<br />
Kinoo, Philippe. "Autorités, pouvoirs, décisions, responsabilités." In <i>Qu'estce qui fait autorité dans les institutions médicosociales?</i>, edited by Muriel Meynckens-Fourez, Christine Vander Borght. Toulouse: Editions Eres, 2007.<br /><br />
<br />
Knowlton, Steven A. "Three Decades since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings." </i>Cataloguing and Classification Quarterly</i> 40.2 (2005). http://scholar.princeton.edu/steven.a.knowlton/publications/three-decades-prejudices-and-antipathies-study-changes-library. <br /><br />
<br />
Kostelanetz, Richard. "Exhaustive Parallel Intervals," (1979). In Joan Lyons, ed. <i>Artists’ Books: a Critical Anthology and Sourcebook</i>. Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Krauss, Annette. "Sites for Unlearning, On the Material, Artistic and Political Dimensions of Processes of Unlearning", PhD. diss., Academy of Fine Arts Vienna, 2017. <br /><br />
<br />
———. <i>Sites for Unlearning</i>. https://siteforunlearning.tumblr.com/. <br />
<br />
KvinnSam. "From private initiative to the national resource library for gender studies." Gothenburg University Library. http://www.ub.gu.se/kvinn/. <br /><br />
<br />
Lambert, Steve. "Best Case Scenario." <i>Fillip Magazine</i> (winter 2009). https://fillip.ca/content/best-case-scenario. <br /><br />
<br />
———. <i>The New York Times Special Edition</i>. https://visitsteve.com/made/the-ny-times-special-edition/. <br /><br />
<br />
Langdon, James, ed. <i>Book</i>. Birmingham: Eastside Projects, 2010. <br /><br />
<br />
Landow, George P. <i>Hypertext: The Convergence of Contemporary Literary Theory and Technology</i>. Baltimore and London: John Hopkins University Press, 1992.<br /><br />
<br />
Lara, María Pía. <i>Moral textures: Feminist narratives in the public sphere</i>. Berkeley: University of California Press, 1999.<br/><br />
<br />
Larivière, V., S. Haustein, P. Mongeon, "The Oligopoly of Academic Publishers in the Digital Era." <i>Plos One</i>, 10(6), 2015. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0127502. <br /><br />
<br />
Leddy, Siobhan. "We should all be reading more Ursula Le Guin." <i>The Outline</i>, August 28, 2019. https://theoutline.com/post/7886/ursula-le-guin-carrier-bag-theory?zd=3&zi=zsnwrv3k. <br /><br />
<br />
Leigh Star, Susan, and Geoffrey C. Bowker, <i>Sorting things out – Classification and Its Consequences</i>, Cambridge MA: The MIT Press, 1999. <br /><br />
<br />
Leigh Star, Susan, and James R. Griesemer. "Institutional Ecology, Translations and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907–39." <i>Social Studies of Science</i>, vol. 19, issue 3 (1989): 387–420. <br /><br />
<br />
LeGuin, Ursula. "The Carrier Bag Theory of Fiction". In <i>The Ecocriticism Reader: Landmarks in Literary Ecology</i>, edited by C. Glotfelty and H. Fromm, 149–54. Athens, GA: University of Georgia Press, 1996.<br /><br />
<br />
Liang, Lawrence. "Shadow Libraries." <i>e-flux Journal</i> #37, September 2012. https://www.e-flux.com/journal/37/61228/shadow-libraries/. <br /><br />
<br />
<i>Library Bill of Rights</i>. American Library Association (ALA). http://www.ala.org/advocacy/intfreedom/librarybill. <br /><br />
<br />
Lippard, Lucy. "The Artist’s Book Goes Public." In <i>Artists’ Books: a Critical Anthology and Sourcebook</i>, edited by Joan Lyons. Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Lippard, Lucy. <i>Six years, the dematerialization of the art object 1966–72</i>. Reprint, Berkeley and Los Angeles: University of California Press [1973] 1997. [https://monoskop.org/images/0/07/Lippard_Lucy_R_Six_Years_The_Dematerialization_of_the_Art_Object_from_1966_to_1972.pdf PDF].<br /><br />
<br />
Lipsitz, George. “Academic Politics and Social Change.” In <i>Cultural Studies and Political Theory</i>, edited by Jodi Dean. Ithaca, NY: Cornell University Press, 2000.<br /><br />
<br />
Lobato, Ramon. "The Paradoxes of Piracy." In <i>Postcolonial Piracy: Media Distribution and Cultural Production in the Global South</i>, edited by Lars Eckstein and Anja Schwarz. London and New York: Bloomsbury, 2014. <br /><br />
<br />
Long, Christopher P. "Toxicity, Metrics and Academic Life." In <i>Human Metrics, Metrics Noir</i>, edited by Meeson Press, Eileen Joy, Martina Frantzen, Cristopher P. Long. Coventry: Postoffice Press, 2018. https://core.ac.uk/download/pdf/159489475.pdf. <br /><br />
<br />
Lorey, Isabell. "Politics of Immunization and the Precarious Life." In <i>Dance, Politics & Co-Immunity, Thinking Resistances Current Perspectives on Politics and Communities in the Arts, vol. 1</i>, edited by Gerald Siegmund and Stefan Hölscher, 259–70. Zurich and Berlin: diaphanes, 2013. <br /><br />
<br />
Loveless, Natalie S. "Reading with Knots: On Jane Gallop’s Anecdotal Theory." <i>Berfrois</i>, May 3, 2012. https://www.berfrois.com/2012/05/jane-gallop-becoming-a-feminist/. <br /><br />
<br />
Ludovico, Alessandro. <i>Postdigital Print</i>. Eindhoven: Onomatope, 2012. [https://monoskop.org/images/a/a6/Ludovico,_Alessandro_-_Post-Digital_Print._The_Mutation_of_Publishing_Since_1894.pdf PDF] <br /><br />
<br />
Lugones, María. "Multiculturalism and Publicity." <i>Hypatia</i>, vol. 15, no. 3, (Summer 2000): 175–81.<br/><br />
<br />
———. <i>Pilgrimages/Peregrinajes: Theorizing Coalition Against Multiple Oppressions</i>. Lanham, NY, and Oxford: Rowman & Littlefield, 2003. Epub.<br /><br />
<br />
Lyons, Joan, ed. <i>Artists’ Books: a Critical Anthology and Sourcebook</i>, Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Mackie, Suzy, and Pru Stevenson. ''SeeRed Women's Workshop – Feminist Posters''. http://www.seeredwomensworkshop.wordpress.com .<br /><br />
<br />
Mackie, Suzy, Pru Stevenson, and Seth Pimlott. <i>ICA Bulletin</i> London, August 7, 2013, https://archive.ica.art/bulletin/see-red-womens-workshop-interview-suzy-mackie-and-pru-stevenson. <br /> <br />
<br />
Mackie, Suzy, and Pru Stevenson. Presentation of See Red at a public event. The Showroom, London, November 16, 2013b. https://www.theshowroom.org/events/see-red-womens-workshop-presentation.<br /><br />
<br />
Macpherson, Crawford Brough. <i>The Political Theory of Possessive Individualism: Hobbes to Locke</i>. Oxford: Oxford University Press, 1962. <br /><br />
<br />
Maldonado-Torres, Nelson. “On the Coloniality of Being: Contributions to the development of a concept.” <i>Cultural Studies</i> vol. 21, nos. 2–3, (March–May 2007): 240–70. https://doi.org/10.1080/09502380601162548.<br /><br />
<br />
Mangen, Anne. "Why bother with print? Some reflections on the role of fixity, linearity and structure for sustained reading," presentation at "The Unbound Book", Conference at the Institute for Network Cultures, Hogeschool van Amsterdam, May 19–21, 2012.<br /><br />
<br />
Mansoux, Aymeric. <i>How Deep is your Source?</i>, 2013. https://archive.bleu255.com/bleu255.com-texts/how-deep-is-your-source/index.html<br /><br />
<br />
Mari, Enzo. <i>Autoprogetazione</i>. Milan: Edizione Corraini, 1974. [http://www.matthewlangley.com/blog/Enzo-Mari-Autoprogettazione2.pdf PDF]. <br /><br />
<br />
Massey, Doreen. <i>For Space</i>. Thousand Oaks, CA, and New York: Sage Publishing, 2005.<br /><br />
<br />
Mattern, Shannon. "Library as Infrastructure." <i>Places Magazine</i>, June 2014. https://placesjournal.org/article/ library-as-infrastructure/. <br /><br />
<br />
Mayfly Books. http://mayflybooks.org/?page_id=2. <br /><br />
<br />
McLuhan, Marshall, "Address at Vision 65, New Challenges for Human Communications," at Southern Illinois University, October 21–23, 1965. In ''Essential McLuhan'', edited by E. McLuhan and F. Zingrone, 208–21. New York: BasicBooks, 1995. <br /><br />
<br />
Medak, Tomislav. "The Future After the Library, UbuWeb and Monoskop’s Radical Gestures." In <i>Public Library</i>, edited by Tomislav Medak, Marcell Mars and What, How & for Whom/WHW. Zagreb: Gallery Nova, 2015. [https://monoskop.org/images/e/ef/Medak_Mars_WHW_eds_Public_Library_Javna_knjiznica.pdf#page=122 PDF]. <br /><br />
<br />
Melucci, Alberto. <i>Challenging Codes: Collective Action in the Information Age</i>. Cambridge: Cambridge University Press, 1996.<br /><br />
<br />
Memory of the World. ''End-to-End Catalog'', November 26, 2012. https://www.memoryoftheworld.org/blog/2012/11/26/end-to-end-catalog/. <br /><br />
<br />
Minh-Ha, Trinh T., <i>Woman, Native, Other: Writing Postcoloniality and Feminism</i>. Bloomington: Indiana University Press, 1989.<br /><br />
<br />
Monoskop. https://monoskop.org. <br /><br />
<br />
Mouffe, Chantal. <i>On the Political – Thinking In Action</i>. London: Routledge, 2005.<br /><br />
<br />
Moya, Paula M. L., "Who We Are and From Where We Speak." <i>Transmodernity, Journal of Peripheral Cultural Production of<br />
the Luso-Hispanic World</i> 1(2), 2011. https://escholarship.org/uc/item/2md416qv. <br /><br />
<br />
Muñoz Sarmiento, Sergio, and Lauren van Haaften-Schick. "Cariou v. Prince: Toward a Theory of Aesthetic-Judicial Judgments." <i>Texas A&M Law Review</i>, vol 1, no. 4 (2014): 941-57. https://scholarship.law.tamu.edu/lawreview/vol1/iss4/8/. <br /><br />
<br />
Nancy, Jean-Luc. <i>Being Singular Plural</i>. Translated by Robert D. Richardson and Anne E. O’Byrne. Stanford, CA: Stanford University Press, 2000. <br /><br />
<br />
Nedelsky, Jennifer. "Reconceiving Rights as Relationship." <i>Review of Constitutional Studies / Revue d’études constitutionnelles</i> 1.1 (1993): 1–26. https://www.law.utoronto.ca/documents/nedelsky/Review1.1Nedelsky.pdf. <br /><br />
<br />
Nony, Anaïs. "Technology of Neo-Colonial Epistemes." <i>Philosophy Today</i> 63 (3) (November 13, 2019): 731–44. <br /><br />
<br />
O’Neill, Paul, and Mick Wilson, eds. <i>Curating and the Educational Turn</i>, London: Open Editions; Amsterdam: de Appel, 2010. [http://betonsalon.net/PDF/essai.pdf PDF] <br /><br />
<br />
O'Neill, Paul, Lucy Steeds, and Mick Wilson, eds. <i>How Institutions Think</i>. Cambridge, MA: The MIT Press, 2017. <br /><br />
<br />
O'Shea, Janet. "Beyond Winning." Presentation at "TEDxUCLA", UCLA California, 2016. https://www.academia.edu/26856411/Beyond_Winning_TEDxUCLA. <br /><br />
<br />
———. <i>Risk, Failure, Play: What Dance Reveals about Martial Arts Training</i>. Oxford: Oxford University Press, 2018. <br /><br />
<br />
Olson, Hope A. "The Power to Name, Locating the Limits of Subject Representation in Libraries." <i>Signs</i>, vol. 26, no. 3 (Spring 2001): 639–68. <br /><br />
<br />
———. "How We Construct Subjects: A Feminist Analysis." <i>Library Trends</i>, vol. 56, no. 2 (Fall 2007): 509–41. https://doi.org/10.1353/lib.2008.0007. <br /><br />
<br />
———. "Sameness and Difference – A cultural foundation of classification." <i>Library Resources & Technical Services</i>, vol. 45, no. 3 (July 2001): 115–22. https://doi.org/10.5860/lrts.45n3.115. <br /><br />
<br />
———. "Difference, Culture and Change: The Untapped Potential of LCSH." <i>Cataloging & Classification Quarterly</i>, 29:1-2 (2000): 53–71. https://doi.org/10.1300/J104v29n01_04. <br /><br />
<br />
OOMK. (One Of My Kind). http://oomk.net/. <br /><br />
<br />
OOMK, <i>The Library Was</i>. London: Book Works, 2017.<br /><br />
<br />
Open Source Publishing (OSP). http://osp.kitchen/. <br /><br />
<br />
Osborne, Peter. "Contemporary art is post-conceptual art," lecture at the Fondazione Antonio Ratti, Como, 2010. <br /><br />
<br />
Otlet, Paul. <i>Traité de documentation</i>', Brussels: Editiones Mundaneum, 1934. br /><br />
<br />
———. <i>International organization and dissemination of knowledge: Selected essays by Paul Otlet</i>. Translated and edited by Boyd Rayward. Féderation Internationale d'Information et Documentation (FID) 684. Amsterdam: Elsevier, 1990.<br /><br />
<br />
Parmacek, Ar. "Ar’s preparing for text – Selection of some of AND’s initial questions." In <i>Boxing and Unboxing Calendar</i>, edited by Rosalie Schweiker and Eva Weinmayr. London: AND Publishing, 2018. <br /><br />
<br />
Perrault, John. "Some Thoughts on Books as Art." In <i>Artists Books</i>, edited by Diane Vanderlip, 15–21. Philadelphia, PA: Moore College of Art, 1973. <br /><br />
<br />
"Piracy and Beyond: Exploring 'Threats' in Media and Culture." Conference at the Higher School of Economics, Moscow, October 23–25, 2019. https://cmd.hse.ru/mediapiracy/. <br /><br />
<br />
"Piracy and Jurisprudence." Conference at the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law), June 21–22, 2013.<br /><br />
<br />
Piracy Project. "The Impermanent Book." In <i>Best of Rhizome</i>, edited by Joanne McNeil, Brescia: LINK Editions, 2013. https://rhizome.org/editorial/2012/apr/19/impermanent-book/.<br /><br />
<br />
''Philadelphia Assembled'', initiated by artist Jeanne van Heeswijk and organized alongside Phoebe Bachman, Carlos Basualdo, Kirtrina Baxter, Shari Hersh, Nehad Khader, Mabel Negrete (CNS), Damon Reaves, Amanda Sroka, and Denise Valentine. 2017–. http://phlassembled.net/. <br /><br />
<br />
Posada, Alejandro, and George Chen. "Inequality in Knowledge Production: The Integration of Academic Infrastructure by Big Publishers." <i>ELPUB</i>, June 2018. https://hal.archives-ouvertes.fr/hal-01816707. <br /><br />
<br />
Printed Matter, New York. https://www.printedmatter.org/.<br /><br />
<br />
Public Collectors. http://www.publiccollectors.org. <br/><br />
<br />
Radical Open Access Collective, Centre for Postdigital Cultures, Coventry University. http://radicaloa.disruptivemedia.org.uk/. <br /><br />
<br />
"Radical Open Access – the Ethics of Care." Conference at the Centre for Postdigital Cultures, Coventry University, 2018. https://radicaloa.disruptivemedia.org.uk/conferences/roa2/. <br /><br />
<br />
Rancière, Jacques. <i>The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation</i>. Stanford: Stanford University Press, 1987. <br /><br />
<br />
Ranganathan, Shiyali Ramamrita. <i>Five Laws of Library Science.</i> Madras: The Madras Library Association, 1931. Digitized by Hathi Trust Digital Library. https://babel.hathitrust.org/cgi/pt?id=uc1.$b99721&view=2up&seq=12. <br /><br />
<br />
Rassel, Laurence. "Rethinking the art school." Interview conducted by Cornelia Sollfrank. In the context of the research project "Creating Commons", ZHdK Zurich, 2018. http://creatingcommons.zhdk.ch/rethinking-the-art-school/, podcast.<br /><br />
<br />
Rassel, Laurence, and Xavier Gorgol. "Experiments with Institutional Formats / Teaching to Transgress," presentation at HDK-Valand Academy of Art and Design, January 21, 2019.<br /><br />
<br />
Raunig, Gerald. "Transversal Multitudes." <i>Transversal</i> 9, 2002. http://eipcp.net/transversal/0303/raunig/en. <br /><br />
<br />
Read-in Collective, Utrecht. https://read-in.info/about/. <br/><br />
<br />
Redwood-Martinez, Joseph, ed. <i>An Incomplete Reader for the Ongoing Project, “One day, everything will be free… v 0.1.8"</i>. Istanbul: SALT Research; London: AND Publishing, 2012. https://web.archive.org/web/20130114114138/http://www.andpublishing.org/files/incomplete-reader-018-colour.pdf. <br/><br />
<br />
Remedes, Rhani Lee. "The SCUB Manifesto." <i>LTTR#1 – Lesbians to the Rescue</i>, 2002, 12. http://lttr.org/journal/1. <br/><br />
<br />
Research Excellence Framework 2014, UK. https://www.ref.ac.uk/2014/.<br/><br />
<br />
Rich, Kate and Femke Snelting. "Contract of research collaboration." February 2018. [http://wiki.evaweinmayr.com/images/8/88/Undisciplinedresearch.contract_Femke_Snelting_Kate_Rich.pdf PDF].<br/><br />
<br />
Riles, Annelise. <i>Documents, Artifacts of Modern Knowledge</i>. Ann Arbor: The University of Michigan Press, 2006.<br /><br />
<br />
Rose, Mark. <i>Authors and Owners, The Invention of Copyright</i>. Cambridge, MA and London: Harvard University Press, 1993.<br /><br />
<br />
Rosenwald, Michael S.. "This student put 50 million stolen research articles online. And they’re free." <i>Washington Post</i>, March 30, 2016. https://www.washingtonpost.com/local/this-student-put-50-million-stolen-research-articles-online-and-theyre-free/2016/03/30/7714ffb4-eaf7-11e5-b0fd-073d5930a7b7_story.html.<br /><br />
<br />
Roysdon, Emily, and Geha, Katie. "Interview with Emily Roysdon." <i>Glasstire</i>, November 11, 2012. https://glasstire.com/2012/11/11/interview-with-emily-roysdon/. <br /><br />
<br />
Roysdon, Emily. "Ecstatic Resistence." <i>Abstractpossible</i>, May 23, 2011. http://abstractpossible.org/2011/05/23/ecstatic-resistance/.<br /><br />
<br />
Runstedtler, Theresa. "White Anglo-Saxon Hopes and Black Americans' Atlantic Dreams: Jack Johnson and the British Boxing Colour Bar." <i>Journal of World History</i> vol. 21, no. 4 (2010): 657–89. <br /><br />
<br />
Ruscha, Ed. "Letter to John Wilcock." February 25, 1966. In the Piracy Project Collection, London: AND Publishing. <br /><br />
<br />
Samek, Tony. "Intellectual Freedom within the Profession: A Look Back at Freedom of Expression and the Alternative Library Press." <i>Library Juice</i> 6:6, 2003. http://libr.org/juice/issues/vol6/LJ_6.6.html. <br /><br />
<br />
Schaffer, Simon, and Steven Shapin. <i>Leviathan and the Air-Pump: Hobbes, Boyle, and the Experimental Life</i>. New Jersey: Princeton University Press, [1985] 2011. <br /><br />
<br />
Schmidt, Arno. <i>Zettel's Traum</i> [Bottom's Dream]. Karlsruhe: Stahlberg, 1970. <br /><br />
<br />
Schor, Naomi. "Dreaming Dissymmetry: Barthes, Foucault and Sexual Difference." In <i>Coming to Terms: Feminism, Theory, Politics</i>, edited by Elizabeth Weed, 47–58. London: Routledge, 1989. <br /><br />
<br />
Schraenen, Guy, ed. <i>Ulises Carrión, Dear reader. Don’t read.</i> Madrid: Ministry of Education, Culture and Sport, 2016. https://www.museoreinasofia.es/en/publicaciones/dear-reader-dont-read. <br /><br />
<br />
Scott, James C. <i>Weapons of the weak: Everyday forms of peasant resistance</i>. New Haven: Yale University Press, 1987. <br /><br />
<br />
———. <i>Domination and the arts of resistance: Hidden transcripts</i>. New Haven: Yale University Press, 1990.<br /><br />
<br />
———. "Infrapolitics and Mobilizations: A Response by <br />
James C. Scott." <i> Revue française d’études américaines</i>, no. 131 (January 2012): 112–17.<br /><br />
<br />
Senior, David. "Infinite Hospitality." In <i>Every Day the Urge Grows Stronger to Get Hold of an Object at Very Close Range by Way of Its Likeness</i>. New York: Dexter Sinister, The Art Libraries Society, 2008. http://www.dextersinister.org/MEDIA/PDF/InfiniteHospitality.pdf. <br /><br />
<br />
"Shadow Libraries – Ubuweb in Athens.” Symposium, March 16–18, 2018, convened by Ilan Manouach, and Kenneth Goldsmith. https://www.onassis.org/whats-on/shadow-libraries-ubuweb-athens/. <br /><br />
<br />
Stadler, Matthew. "What is a publication studio?". A talk for <i>Musagetes</i>, Guelph, Ontario, June 6, 2012. https://musagetes.ca/document/what-is-a-publication-studio/. <br/><br />
<br />
Swartz, Aaron. "Guerilla Open Access Manifesto." 2008. https://archive.org/stream/GuerillaOpenAccessManifesto/Goamjuly2008_djvu.txt. <br /><br />
<br />
Shadowsistxrs Fightclub. https://www.instagram.com/shadowsistxrs_fightclub/. <br /><br />
<br />
Shukaitis, Stevphen. "Toward an Insurrection of the Published? Ten Thoughts on Ticks & Comrades." <i>eicp transversal</i>, June 2014. https://transversal.at/transversal/0614/shukaitis/en. <br /><br />
<br />
Skeat, Walter W. <i>Oxford Concise Dictionary of English Etymology</i>. 1882. Reprint, London: Forgotten Books, 2013.<br /><br />
<br />
Snelting, Femke and SpiderAlex. "Forms of Ongoingness." Interview conducted by Cornelia Sollfrank, Basel, September 16, 2018. In the context of the research project "Creating Commons" by Felix Stalder Cornelia Sollfrank, Shusha Niederberger, at ZhDK Zurich, 2016–19. http://creatingcommons.zhdk.ch/forms-of-ongoingness/, podcast. <br /><br />
<br />
Snelting, Femke. "Performing Graphic Design Practice". Interview conducted by Cornelia Sollfrank, Leipzig, 7 April 2014. In the context of the research project "Giving what you don't have", Lüneburg, Leuphana University, 2014. http://artwarez.org/projects/GWYDH/snelting.html, podcast. <br /><br />
<br />
Sollfrank, Cornelia. "Giving what you don’t have". Research Project at the Postmedialab, Leuphana University, Lüneburg, 2012. http://artwarez.org/projects/GWYDH/. <br /><br />
<br />
Solstar. https://solstarsports.org/. <br /><br />
<br />
Spade, Dean. <i>Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law</i>. Durham, NC: Duke University Press Books, 2015. <br /><br />
<br />
Spelman, Elizabeth V. <i>Inessential Woman: Problems of Exclusion in Feminist Thought</i>. Boston: Beacon Press, 1988. <br /><br />
<br />
Spivak, Gayatri Chakravorty. <i>Death of a Discipline</i>. New York and Chichester, West Sussex: Columbia University Press, 2003. <br /><br />
<br />
———. <i>Outside in the Teaching Machine</i>. London: Routledge, 1993. <br /><br />
<br />
———. "Can the Subaltern Speak?." In <i>Marxism and the Interpretation of Culture</i>, edited by Cary Nelson and Lawrence Grossberg, 271–313. Urbana: University of Illinois Press, 1988. <br /><br />
<br />
———. <i>An Aesthetic Education in the Era of Globalization</i>. Cambridge: Harvard University Press, 2012.<br /><br />
<br />
Springer, Anna-Sophie, and Etienne Turpin, eds. <i>Fantasies of the Library</i>. Berlin: K. Verlag and Haus der Kulturen der Welt, 2015. https://k-verlag.org/books/intercalations1/. <br /><br />
<br />
Stalder, Felix, Susha Niederberger, Cornelia Sollfrank. "Creating Commons", Institute for Contemporary Art Research, University of the Arts Zurich, 2017–19. http://creatingcommons.zhdk.ch/. <br /><br />
<br />
Stallman, Richard. "GNU Manifesto". 1985. https://www.gnu.org/gnu/manifesto.en.html. <br /><br />
<br />
Sternfeld, Nora. "Para-Museum of 100 Days: documenta between Event and Institution." <i>On Curating</i>, issue 33, 2017. https://www.on-curating.org/files/oc/dateiverwaltung/issue-33/pdf/Oncurating_Issue33.pdf. <br /><br />
<br />
———. "Negotiating Reality: Artistic and Curatorial Research." Presentation at "Sonic Acts Academy", Amsterdam, February 23, 2018. https://re-imagine-europe.eu/resources_item/negotiating-with-reality-artistic-and-curatorial-research/, podcast. <br /><br />
<br />
Strathern, Marilyn. <i>Audit Cultures, Anthropological studies in accountability, ethics and the academy</i>. London, and New York: Routledge, 2000. <br /><br />
<br />
———. <i>Kinship, Law, and the Unexpected: Relatives Are Always a Surprise</i>. Cambridge: Cambridge University Press, 2005. <br /><br />
<br />
———. <i>The Gender of the Gift, Problems with Women and Problems with Society in Melanesia</i>. Berkeley: University of California Press, 1988. <br /><br />
<br />
Students and staff of Hornsey College of Art. <i>The Hornsey Affair</i>. London: Penguin Education Special, 1969. <br /><br />
<br />
Sullivan, Doreen. "A Brief History of Homophobia in Dewey Decimal Classification." <i>Overland</i>, 2015. https://overland.org.au/2015/07/a-brief-history-of-homophobia-in-dewey-decimal-classification/. <br /><br />
<br />
<i>Synergy Magazine, Index for 1967–71</i>, San Francisco: Bay Area Reference Center, 1972. [http://wiki.evaweinmayr.com/images/c/c3/Synergy_Index_1972.pdf PDF]<br /><br />
<br />
Tarde, Gabriel. <i>The Laws of Imitation</i>. New York: Henry Holt and Company, 1903.<br /><br />
<br />
Teaching to Transgress Toolbox. http://www.ttttoolbox.net/. <br /><br />
<br />
Temporary Services, eds. <i>What problems can artist publishers solve?</i>. Chicago: Half Letter Press; Rotterdam: PrintRoom, 2018. <br /><br />
<br />
The Library Bureau. <i>Classified Illustrated Catalog of the Library Bureau, A Handbook of Library and Office, Fittings and Supplies</i>. Boston, 1890. https://archive.org/details/classifiedillus06buregoog/mode/2up. <br /><br />
<br />
Thoburn, Nicholas. <i>Anti-book, On the Art and Politics of Radical Publishing</i>. Minneapolis: University of Minnesota Press, 2016. <br /><br />
<br />
Thornton, Edward. "Thinking and Writing Together: Institutional Pedagogy and Félix Guattari". Preprint, <i>Academia</i>, 2019.<br />
https://www.academia.edu/38283359/Thinking_and_Writing_Together_Institutional_Pedagogy_and_Fe_lix_Guattari. <br /><br />
<br />
Tourney, Michele M. "Caging Virtual Antelopes: Suzanne Briet’s Definition of Documents in the Context of The Digital Age." <i>Archival Science</i> 3 (2003): 291–311.<br /><br />
<br />
Transmediale, "Affective Infrastructures", Berlin, 2019. https://transmediale.de/content/study-circle-affective-infrastructures. <br /><br />
<br />
Triaille, J.-P., S. Dusollier, S. Depreeuw, J.-B. Hubin. F. Coppens, and A. de Francquen. "Infosoc Directive – Study on the application of Directive 2001/29/EC on copyright and related rights in the information society." Brussels: European Union, 2013.<br /><br />
<br />
Tuhiwai Smith, Linda. <i>Decolonizing Methodologies, Research and Indigenous Peoples</i>. London: Zed Books, 1999. [https://brb.memoryoftheworld.org/Linda%20Tuhiwai%20Smith/Decolonizing%20Methodologies_%20Research%20and%20Indigenous%20Peoples%20(8641)/Decolonizing%20Methodologies_%20Research%20and%20I%20-%20Linda%20Tuhiwai%20Smith.pdf PDF]. <br /><br />
<br />
United Voices of the World Union. https://www.uvwunion.org.uk/. <br /><br />
<br />
Van Mourik Broekman, P., G. Hall, T. Byfield, S. Hides, and S. Worthington. <i>Open education: A study in disruption</i>. London: Rowman & Littlefield International, 2014. https://curve.coventry.ac.uk/open/file/c04530ce-d16a-46ca-b359-a905195a76cb/1/Open%20education.pdf. <br /><br />
<br />
Vanuxem, Sarah. <i>La Propriété de la terre </i>. Marseille: Wildproject, 2018. <br/><br />
<br />
Warner, Michael. "Publics and Counterpublics" <i>Quarterly Journal of Speech</i> vol. 88, no. 4, (November 2002): 413–25.<br/><br />
<br />
Weber, Max. "Bureaucracy." <i>On Charisma and Institution Building</i>. Chicago: Chicago University Press, 1968.<br /><br />
<br />
Wedgwood, Hensleigh. <i>English Etymology</i>. London: Trübner & Co, 1872.<br /><br />
<br />
Weinberger, David. "Library as Platform." <i>Library Journal</i>, September 4, 2012. https://www.libraryjournal.com/?detailStory=by-david-weinberger. <br /><br />
<br />
Weinmayr, Eva. "Library Underground – A reading list for a coming community." In <i>Publishing as Artistic Practice</i>, edited by Annette Gilbert, 157–187. Berlin and New York: Sternberg Press, 2016. [http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf PDF].<br /><br />
<br />
———. "Print." In <i>Der Fahrende Raum – ein Aktionsraum in Freimann</i>, edited by Maximiliane Baumgartner and Mirja Reuter. Munich: Kultur & Spielraum e.V., 2015. http://www.fahrender-raum.de/wp-content/uploads/Flugschrift_1.pdf. <br /><br />
<br />
———. "Confronting Authorship, Constructing Practices – How copyright destroys collective practice." In <i>Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity</i>, edited by Janis Jefferies and Sarah Kember, 267–307. Cambridge: Open Book Publishers, 2019. https://www.openbookpublishers.com/product/925. <br /><br />
<br />
———. "One publishes to find comrades." In <i>The Visual Event, an education in appearances</i>, edited by Oliver Klimpel, 50–59. Leipzig: Spector Books, 2014.<br /><br />
<br />
Wellmon, Chad and Andrew Piper. "Publication, Power, Patronage: On Inequality and Academic Publishing." <i>Critical Inquiry</i>, July 21, 2017. https://criticalinquiry.uchicago.edu/publication_power_and_patronage_on_inequality_and_academic_publishing/. <br /><br />
<br />
West, Celeste, and Wolf Milton. "Conversation with Celeste West." <i>Libraries for Social Change: Women’s Issue</i>, 31/32 (1983) 29–35. <br /><br />
<br />
West, Celeste, and Elizabeth Katz, eds. <i>Revolting Librarians</i>. San Francisco: Booklegger Press, 1972.<br /><br />
<br />
Wiegand, Wayne A. "The ‘Amherst Method’: The Origins of the Dewey Decimal Classification Scheme." <i>Libraries & Culture</i> 33:2 (spring 1998): 175–94.<br /><br />
<br />
Wheeler, Stanton, ed. <i>On Record: Files and Dossiers in American Life</i>. New York: Russell Sage Foundation, 1969.<br /><br />
<br />
White, Tony. "The (r)evolutionary artist book." <i>Book 2.0</i>, vol. 3, no. 2, (December 2013): 163–83. <br /><br />
<br />
Woodmansee, Martha, and Peter Jaszi, eds. <i>The Construction of Authorship, Textual Appropriation in Law and Literature</i>. Durham, NC, and London: Duke University Press, 1994.<br /><br />
<br />
X Marks the Bökship. http://bokship.org/.<br /><br />
<br />
Xu, Bea. "Shadow Sistxrs: how I’m learning to protect my own soul". <i>gal–dem</i>, September 5, 2017. http://gal-dem.com/shadow-sistxrs-learning-protect-soul/. <br /><br />
<br />
Yes Men, ''New York Times Hoax – The Yes Men Fix The World''. https://www.youtube.com/watch?v=YoZQNgAnvqs. <br /><br />
<br />
Zehle, Soenke, Simon Worthington, Peter Cornwell, and Pauline van Mourik Broekman. "Archive Architectures." <i>Network Ecologies</i>. Scalar, Franklin Humanities Institute, Durham, Duke University, 2016. http://scalar.usc.edu/works/network-ecologies/archive-architectures. <br /><br />
<br />
Zett, Anna. "Theory of Everything (Circuit Training)". https://www.youtube.com/watch?v=N4NSM4aBnc0. <br /></div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11619Main Page2020-10-14T18:04:36Z<p>Eva: /* Abstract */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<b>Public Defense</b>: November 5, 2020<br/><br />
<br clear=all><br />
[[File:Logo ArtMonitor.png|100px|link=]] This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, organization theory, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Inclusions and Omissions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11618Main Page2020-10-14T09:25:25Z<p>Eva: /* Abstract */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<b>Public Defense</b>: November 5, 2020<br/><br />
<br clear=all><br />
[[File:Logo ArtMonitor.png|100px|link=]] This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, organization theory, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_5_*_Boxing_and_Unboxing&diff=11617Project 5 * Boxing and Unboxing2020-10-13T09:38:25Z<p>Eva: /* AND set of poster announcement */</p>
<hr />
<div><br />
{{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization|see chapter 05*Reflection, theorization of projects: Boxing and Unboxing – against immunization}}<br />
Boxing and Unboxing took place following an invitation for a research residency invitation extended to AND Publishing by Marabouparken konsthall in Stockholm in 2018. This page tracks in a compact way the single steps AND Publishing (Rosalie Schweiker, Eva Weinmayr) undertook to set up and carry out this collaborative project. I review and reflect on the project's process and the findings in chapter 05*Reflection, theorization of projects.<br />
</br><br />
</br><br />
=Starting point and context: Marabouparken Guestroom Programme=<br />
<br />
The Marabouparken konsthall's Guestroom program "Acts of Self Ruin," curated by Jenny Richards, sets out to explore the struggle for collectivity and equality in an age of individualism. The program's purpose was to support artist groups or collectives in developing new lines of inquiry and to share these with diverse publics through workshops and events.<br />
<br />
Marabouparken’s Research Theme (2017–19) was described on its [http://marabouparken.se/acts-of-self-ruin/?lang=en website] as: <br />
::Through a range of activities including exhibitions, residencies, and a public program, we will explore acts in which communities and individuals have put themselves at risk or ruin in the pursuit of other ways of living, or in pursuit of equality and solidarity. Acts that might produce shame or embarrassment in their deviation from existing hierarchies; acts of communal inefficiency of professional disloyalty; of solidarity with a persecuted colleague, or the rejection of national identity. The research investigates not only overtly public political acts but also personal acts of self ruin. In what ways do we unlearn the encouraged subconscious individualistic ideology and its inherent classist, racist, and sexist perpetuations? Acts of Self Ruin is a concept explored by Leela Gandhi in her book <i>The Common Cause</i> (2014) and informs this inquiry. The book proposes different forms of solidarity and community developed through acts of self-ruination. Acts aimed at making common the cause between individuals across cultural, political and class divides. <br />
<br />
Major concerns dawned on us while thinking this invitation through. How can collectivity and community be built during a temporary residency? By definition, residencies dislocate a contextual and locally embedded practice to "take residence" in a new community. As artist Jeanne van Heeswijk, who developed several long-term and large-scale projects to "radicalize the local" ([[http://phlassembled.net/movement/index/jeanne_van_heeswijk/Philadelphia Assembled]]) pointed out in a talk at HDK-Valand in 2017, projects aiming at meaningful community-building require at least a three-year commitment. <br/><br />
<br />
So how could we potentially embark on a residency, develop new strands of practice and work meaningfully with the local community in this case? We started with (i) a set of questions, (ii) a draft document developing the terms and conditions of the collaboration with the institution and (iii) the idea to organize boxing classes for self-identifying women as part of this residency.<br/><br />
<br />
=AND Questions Poster=<br />
[[File:AND Marabouparken Poster questions2 lowres.jpg|350px|thumb|left|]]<br />
The poster assembled our doubts, questions, and interests on one page. It reflects our individual voices as well as our concerns with our collaborative practice within AND. "What does it mean to understand our work not as a noun but as a verb?" "Why do we NOT want a unified face?" "How can we subvert the social pressure to produce faces?" and "Who gives in? Who compromises? Who accommodates? Who cares? Who edits? Who organizes? Who translates? Do we need a new, less tired and exclusive language to talk about all of this? And how do you document laughter?" The poster was published on Marabouparken's website and exhibited as A0 poster in the exhibition space. <br clear=all><br />
<br />
=AND terms and conditions of working with institution=<br />
[[File:AND Boxing Terms and Conditions agreement.jpg|350px|thumb|left|link=http://wiki.evaweinmayr.com/images/d/df/Agreement_%27Terms_and_Conditions%27_for_AND_Guestroom_Residency_Marabouparken_Konsthall.pdf| "Terms and Conditions".]]<br />
The document specifying the terms and conditions was an evolving text, informed by a dialogue between curator Jenny Richards and AND. This document was revised several times throughout the residency. It laid the foundations for the collaboration, articulating the expectations of the institution as well as those of the invited artists. It was agreed, for example, that the artists would be visible on their own terms. This stipulation requests that the institution consult the artists as to how this project is to be made public through social media and press releases. <br />
<br />
This clause paid attention to the fact that institutions can at times co-opt and frame artistic work in line with their own templates and secured control of what is made visible and what not. The terms and conditions document provided protection against enforced compromise, potentially driven by institutional requirements for publicness and publicity. One of the main conversations between AND and Marabouparken konsthall was how the "development of a new strand of practice" could or should be articulated and publicized before the actual practice unfolds. The problem addressed here refers to previous experiences when the framing that occurs prior to the project taking place, through for example, its description, determine what is conceivable (or not) later on. We were keen to leave this as open as possible.<br />
<br />
<br clear=all><br />
<br />
=AND set of poster announcement=<br />
<br />
<div style="width: 350px;"><br />
<div class="fadingimages"><br />
<slideshow sequence="forward" transition="fade" refresh="3000"><br />
<div>[[Image:AND Boxing and Unboxing poster lowres02.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster english.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster lowres03.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster swedish.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster lowres04.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster arabic.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster lowres01.jpg|thumb|left|350px]]</div><br />
<div>[[Image:AND Boxing and Unboxing poster tigrynia.jpg|thumb|left|350px]]</div><br />
</slideshow><br />
</div></div><br clear=all><br />
:::::::::::::::::A set of four posters were printed and circulated. Translated into Swedish, English, Arabic and Tigrinya, they announced two weeks of boxing training for women, girls, trans and non-binary people in order to learn more about non-verbal negotiation, care, anger, dialogue, transgressions and self-defence. The posters stated that the boxing classes were free and open to all abilities, ages (16+), shapes and religions and were an experiment to learn to relate to each other and to negotiate the many conflicts and contradictions that shape our living and working together. They were distributed in community and art centers, libraries, and schools in the adjacent neighbourhoods of Sundbyberg and Hallonbergen, and across Stockholm.<br />
<br clear=all><br />
<br clear=all><br clear=all><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br />
=AND Unboxing Room=<br />
<br />
[[File:AND Marabouparken Unboxing Room11-2 lowres.jpg|thumb|left|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] <br />
<br />
AND shipped a pile of boxes to Marabouparken konsthall to be unboxed during the residency. The boxes contained ephemera, publications and documents AND has been working on and miscellaneous items related to AND's projects and inquiries. The initial plan of setting up the AND Unboxing Room in the main gallery space of the konsthall was altered because (i) it was hard to escape the somewhat rigid framing of the exhibition context and (ii) Anna Adahl’s neighboring video installation’s soundscape had a potentially transgressive effect on the work (iii) there was no daylight in the gallery space. These were limitations that did not allow us to set up a welcoming and informal space in the main galleries for both the public and ourselves to spend time with the materials. Therefore we moved out of the gallery and into the archive space in the administration wing of Marabouparken konsthall. Visitors were guided by konsthall staff through their offices to the AND Unboxing Room. The invitation reads:<br />
"You are welcome to explore AND’s projects and publications* in this Unboxing Room, to unbox yourself, or come to one of the public unboxing afternoons at the konsthall. AND wants you to unbox the many boxes surrounding us, including the boxes they have shipped to Marabouparken from London. These boxes contain many publications, documents, and miscellaneous items they have collected, made and worked with: [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [https://teachingforpeoplewhoprefernottoteach.bigcartel.com/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [https://whatisfeministpedagogy.tumblr.com/ Let’s Mobilize: What is Feminist Pedagogy?], [https://www.artsadmin.co.uk/events/3850 A selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as our terms and conditions, emails and other miscellaneous items."<br />
<br clear=all><br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room15 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room1 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room13 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room14 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room19 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room6 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing Gear=<br />
{{Outerlink|https://www.lttr.org/files/pdfs/lttr_1_bootleg.pdf|see: SCUB Manifesto: Society for cutting up boxes, LTTR#1, 2002, page 12}}<br />
[[File:AND Marabouparken Boxing Project Playground13 lowres.jpg|thumb|left|350px|link=|Boxing and Unboxing T-shirts, AND Publishing, 2018.]]<br />
We produced T-shirts and hoodies for the boxers attending the training sessions, and these proved to be popular elsewhere. Printed with the boxing glove collages (used in the posters) combined with the slogan "Box me in – no thank you," borrowed from Rhani Lee Remedes' "SCUB Manifesto" (Society for Cutting Up Boxes, 2002) they serve both as garment and as an (extended) publication.<br />
<br />
<br clear=all><br />
<br />
=Host: Project Playground, Hallonbergen=<br />
[[File:AND Boxing Project Playground Hallonbergen Stockholm.jpg|thumb|left|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]]<br />
{{Outerlink|https://www.project-playground.org| see website: Project Playground}}<br />
The choice of where the boxing classes should be held seemed crucial. Locating the training sessions within the premises of Marabouparken konsthall would most likely frame the activity as artistic, performative work. It could also be read as some kind of cool gallery outreach program. Project Playground, an after school club for young refugees in Stockholm's Hallonbergen district, was interested in promoting more activities for girls and offered to host the boxing training sessions.<br />
<br />
<br clear=all><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground3 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground5 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018 – the girls room.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground7 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground10 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground6 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing classes=<br />
<br />
The boxing classes took place every other day for a period of two weeks and were taught by Stockholm-based boxers Sofia Thorne and Airin Fardipour. Both are active in the Stockholm female boxing scene but had not much previous coaching experience. The project was then a new adventure for both the trainers (to develop a two-week intensive course for beginners) and the trainees (to start learning boxing). From the perspective of those of us learning to box, having two coaches was significant, as the authority of "the instructor" had been split across two instructing minds, bodies, voices, and sets of abilities and expertise. This also helped solving problems with communication, as Sofia and Airin ran bilingual classes, with Airin translating Sofia's Swedish instructions into English. <br />
<br />
The number of trainees varied between 20 coming to the first training unit and leveled out over time to a group of 10–12 boxers in the subsequent sessions. <br />
Sofia and Airin taught many techniques, including a basic set of moves and punches, as well as extensive sparring and body contact work. The classes started with warm-ups, followed by rehearsing footwork and punches, performing defense moves, and sparring with different partners. The classes often concluded with cardio fitness and fika (Swedish for snacks) in the "girls room." <br />
<br />
<br />
<br />
{{#ev:vimeo|https://vimeo.com/348912799|500|left|Box trainers Airin Fardipour and Sophia Thorne practicing the hook in the "girls room." |frame}} <br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
=AND Unboxing Talks=<br />
<br />
One element of AND's contract with Marabouparken konsthall was to hold a series of public talks or workshops during the residency. These scheduled events served to connect to a wider community in Stockholm – beyond the participants in the boxing sessions. Curator Jenny Richards served as a link with local cultural workers invested in similar topics, such as publishing as artistic practice, intersectional feminism, queer, and radical knowledge practices.<br />
<br/><br />
<br/><br />
<br />
<br />
<br />
[[File:AND Marabouparken Unboxing Talk1 02 lowres.jpg|thumb|left|350px|link=|Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]] '''Unboxing Talk #1 – What does it mean to understand publication not as a noun, but as a verb?'''<br />
<br/>{{Outerlink|http://wiki.evaweinmayr.com/index.php/File:AND_Boxing_questions_poster.jpg|see Boxing and Unboxing – Questions Poster}}<br />
From the announcement: "In this talk, Rosalie and Eva are in conversation about their approach to the residency, about the unboxing of their archive, and AND's wider practice." The questions on the poster were the starting point for this talk, which took place in a range of public and non-public spaces inside the konsthall and its surroundings: the gallery, the staff kitchen, AND's Unboxing Room, in the green of the surrounding park. This itinerant format was an attempt to move from the formal roles and settings of an "artist talk" to a more informal and socially productive format. <br />
<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1-1 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1 04 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<br clear=all><br />
<br />
[[File:AND Boxing Unboxing talk-2 lowres.jpg|350px|thumb|left|link=|Unboxing#2 Talk, Marabouparken konsthall, June 16, 2018.]]<br />
'''Unboxing Talk #2 – Authoring, Not-authoring, De-authoring'''<br />
<br/><br />
<br/><br />
From the announcement: "Rosalie and Eva will surprise each other with two short presentations on ownership and authorship – they don't know what each other will be presenting – followed by a discussion trying to unpick the experiences and tensions between the individual and the collective when it comes to working collectively – followed by ice-cream in the park."<br />
<br />
<br/><br />
<br clear=all><br />
<br />
[[File:AND Marabouparken Unboxing-3 workshop12 lowres.jpg|thumb|left|350px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]]'''Unboxing Talk #3 – Collage Workshop'''<br />
<br/><br />
From the announcement: "The last UNBOXING event with AND publishing is an active workshop: We will produce a ‘how to box and unbox’ guide. <br />
For this UNBOXING event, we are inviting back all the participants of the boxing classes in June, but it is also open to the curious who have never boxed before."<br />
<br />
This workshop provided an opportunity for the participants of the boxing training to reflect on their experiences during the boxing sessions as a relational, nonverbal, and bodily dialogue that transgressed the boundaries that we usually seek to protect. Retaining the idea of nonverbal dialogue, this reflection happened through images, drawings, and slogans – using pens, scissors, and glue rather than words.<br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop5 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop7 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop6 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop11 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop8 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Pages from AND Boxing and Unboxing Calendar, AND Publishing London, Marabouparken konsthall Stockholm, 2018=<br />
[[File:Web-AND-calendar-01.jpg|thumb|left|300px|link=|<i>Boxing and Unboxing Calendar</i> AND Publishing, London, Marabouparken konsthall, Stockholm, 2018. [http://andpublishing.org/boxing-and-unboxing-calendar-2019 www.andpublishing.org]]] <br />
<br />
This calendar was published by AND with the collages produced by the participants of the boxing classes. The visuals revisit the spirit, the experiences, and conflicts during the boxing classes. It includes a step-by-step guide to warming up exercises and an introduction to basic boxing techniques. The visuals in the calendar are contextualized by a text written by Ar Parmacek, an intern at Marabouparken konsthall at the time. Ar reflects on the concerns and observations in her role as a co-organizer and observer. In contrast to a book on the shelf, a calendar – on the wall or on the table – is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
{{:Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018}}</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_5_*_Boxing_and_Unboxing&diff=11616Project 5 * Boxing and Unboxing2020-10-13T09:37:06Z<p>Eva: /* AND set of poster announcement */</p>
<hr />
<div><br />
{{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization|see chapter 05*Reflection, theorization of projects: Boxing and Unboxing – against immunization}}<br />
Boxing and Unboxing took place following an invitation for a research residency invitation extended to AND Publishing by Marabouparken konsthall in Stockholm in 2018. This page tracks in a compact way the single steps AND Publishing (Rosalie Schweiker, Eva Weinmayr) undertook to set up and carry out this collaborative project. I review and reflect on the project's process and the findings in chapter 05*Reflection, theorization of projects.<br />
</br><br />
</br><br />
=Starting point and context: Marabouparken Guestroom Programme=<br />
<br />
The Marabouparken konsthall's Guestroom program "Acts of Self Ruin," curated by Jenny Richards, sets out to explore the struggle for collectivity and equality in an age of individualism. The program's purpose was to support artist groups or collectives in developing new lines of inquiry and to share these with diverse publics through workshops and events.<br />
<br />
Marabouparken’s Research Theme (2017–19) was described on its [http://marabouparken.se/acts-of-self-ruin/?lang=en website] as: <br />
::Through a range of activities including exhibitions, residencies, and a public program, we will explore acts in which communities and individuals have put themselves at risk or ruin in the pursuit of other ways of living, or in pursuit of equality and solidarity. Acts that might produce shame or embarrassment in their deviation from existing hierarchies; acts of communal inefficiency of professional disloyalty; of solidarity with a persecuted colleague, or the rejection of national identity. The research investigates not only overtly public political acts but also personal acts of self ruin. In what ways do we unlearn the encouraged subconscious individualistic ideology and its inherent classist, racist, and sexist perpetuations? Acts of Self Ruin is a concept explored by Leela Gandhi in her book <i>The Common Cause</i> (2014) and informs this inquiry. The book proposes different forms of solidarity and community developed through acts of self-ruination. Acts aimed at making common the cause between individuals across cultural, political and class divides. <br />
<br />
Major concerns dawned on us while thinking this invitation through. How can collectivity and community be built during a temporary residency? By definition, residencies dislocate a contextual and locally embedded practice to "take residence" in a new community. As artist Jeanne van Heeswijk, who developed several long-term and large-scale projects to "radicalize the local" ([[http://phlassembled.net/movement/index/jeanne_van_heeswijk/Philadelphia Assembled]]) pointed out in a talk at HDK-Valand in 2017, projects aiming at meaningful community-building require at least a three-year commitment. <br/><br />
<br />
So how could we potentially embark on a residency, develop new strands of practice and work meaningfully with the local community in this case? We started with (i) a set of questions, (ii) a draft document developing the terms and conditions of the collaboration with the institution and (iii) the idea to organize boxing classes for self-identifying women as part of this residency.<br/><br />
<br />
=AND Questions Poster=<br />
[[File:AND Marabouparken Poster questions2 lowres.jpg|350px|thumb|left|]]<br />
The poster assembled our doubts, questions, and interests on one page. It reflects our individual voices as well as our concerns with our collaborative practice within AND. "What does it mean to understand our work not as a noun but as a verb?" "Why do we NOT want a unified face?" "How can we subvert the social pressure to produce faces?" and "Who gives in? Who compromises? Who accommodates? Who cares? Who edits? Who organizes? Who translates? Do we need a new, less tired and exclusive language to talk about all of this? And how do you document laughter?" The poster was published on Marabouparken's website and exhibited as A0 poster in the exhibition space. <br clear=all><br />
<br />
=AND terms and conditions of working with institution=<br />
[[File:AND Boxing Terms and Conditions agreement.jpg|350px|thumb|left|link=http://wiki.evaweinmayr.com/images/d/df/Agreement_%27Terms_and_Conditions%27_for_AND_Guestroom_Residency_Marabouparken_Konsthall.pdf| "Terms and Conditions".]]<br />
The document specifying the terms and conditions was an evolving text, informed by a dialogue between curator Jenny Richards and AND. This document was revised several times throughout the residency. It laid the foundations for the collaboration, articulating the expectations of the institution as well as those of the invited artists. It was agreed, for example, that the artists would be visible on their own terms. This stipulation requests that the institution consult the artists as to how this project is to be made public through social media and press releases. <br />
<br />
This clause paid attention to the fact that institutions can at times co-opt and frame artistic work in line with their own templates and secured control of what is made visible and what not. The terms and conditions document provided protection against enforced compromise, potentially driven by institutional requirements for publicness and publicity. One of the main conversations between AND and Marabouparken konsthall was how the "development of a new strand of practice" could or should be articulated and publicized before the actual practice unfolds. The problem addressed here refers to previous experiences when the framing that occurs prior to the project taking place, through for example, its description, determine what is conceivable (or not) later on. We were keen to leave this as open as possible.<br />
<br />
<br clear=all><br />
<br />
=AND set of poster announcement=<br />
<br />
<br />
[[Image:AND Boxing and Unboxing poster lowres02.jpg|thumb|left|350px]]<br />
A set of four posters were printed and circulated. Translated into Swedish, English, Arabic and Tigrinya, they announced two weeks of boxing training for women, girls, trans and non-binary people in order to learn more about non-verbal negotiation, care, anger, dialogue, transgressions and self-defense. The posters stated that the boxing classes were free and open to all abilities, ages (16+), shapes and religions and were an experiment to learn to relate to each other and to negotiate the many conflicts and contradictions that shape our living and working together. They were distributed in community and art centers, libraries, and schools in the adjacent neighborhoods of Sundbyberg and Hallonbergen, and across Stockholm.<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=AND Unboxing Room=<br />
<br />
[[File:AND Marabouparken Unboxing Room11-2 lowres.jpg|thumb|left|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] <br />
<br />
AND shipped a pile of boxes to Marabouparken konsthall to be unboxed during the residency. The boxes contained ephemera, publications and documents AND has been working on and miscellaneous items related to AND's projects and inquiries. The initial plan of setting up the AND Unboxing Room in the main gallery space of the konsthall was altered because (i) it was hard to escape the somewhat rigid framing of the exhibition context and (ii) Anna Adahl’s neighboring video installation’s soundscape had a potentially transgressive effect on the work (iii) there was no daylight in the gallery space. These were limitations that did not allow us to set up a welcoming and informal space in the main galleries for both the public and ourselves to spend time with the materials. Therefore we moved out of the gallery and into the archive space in the administration wing of Marabouparken konsthall. Visitors were guided by konsthall staff through their offices to the AND Unboxing Room. The invitation reads:<br />
"You are welcome to explore AND’s projects and publications* in this Unboxing Room, to unbox yourself, or come to one of the public unboxing afternoons at the konsthall. AND wants you to unbox the many boxes surrounding us, including the boxes they have shipped to Marabouparken from London. These boxes contain many publications, documents, and miscellaneous items they have collected, made and worked with: [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [https://teachingforpeoplewhoprefernottoteach.bigcartel.com/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [https://whatisfeministpedagogy.tumblr.com/ Let’s Mobilize: What is Feminist Pedagogy?], [https://www.artsadmin.co.uk/events/3850 A selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as our terms and conditions, emails and other miscellaneous items."<br />
<br clear=all><br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room15 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room1 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room13 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room14 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room19 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room6 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing Gear=<br />
{{Outerlink|https://www.lttr.org/files/pdfs/lttr_1_bootleg.pdf|see: SCUB Manifesto: Society for cutting up boxes, LTTR#1, 2002, page 12}}<br />
[[File:AND Marabouparken Boxing Project Playground13 lowres.jpg|thumb|left|350px|link=|Boxing and Unboxing T-shirts, AND Publishing, 2018.]]<br />
We produced T-shirts and hoodies for the boxers attending the training sessions, and these proved to be popular elsewhere. Printed with the boxing glove collages (used in the posters) combined with the slogan "Box me in – no thank you," borrowed from Rhani Lee Remedes' "SCUB Manifesto" (Society for Cutting Up Boxes, 2002) they serve both as garment and as an (extended) publication.<br />
<br />
<br clear=all><br />
<br />
=Host: Project Playground, Hallonbergen=<br />
[[File:AND Boxing Project Playground Hallonbergen Stockholm.jpg|thumb|left|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]]<br />
{{Outerlink|https://www.project-playground.org| see website: Project Playground}}<br />
The choice of where the boxing classes should be held seemed crucial. Locating the training sessions within the premises of Marabouparken konsthall would most likely frame the activity as artistic, performative work. It could also be read as some kind of cool gallery outreach program. Project Playground, an after school club for young refugees in Stockholm's Hallonbergen district, was interested in promoting more activities for girls and offered to host the boxing training sessions.<br />
<br />
<br clear=all><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground3 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground5 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018 – the girls room.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground7 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground10 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground6 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing classes=<br />
<br />
The boxing classes took place every other day for a period of two weeks and were taught by Stockholm-based boxers Sofia Thorne and Airin Fardipour. Both are active in the Stockholm female boxing scene but had not much previous coaching experience. The project was then a new adventure for both the trainers (to develop a two-week intensive course for beginners) and the trainees (to start learning boxing). From the perspective of those of us learning to box, having two coaches was significant, as the authority of "the instructor" had been split across two instructing minds, bodies, voices, and sets of abilities and expertise. This also helped solving problems with communication, as Sofia and Airin ran bilingual classes, with Airin translating Sofia's Swedish instructions into English. <br />
<br />
The number of trainees varied between 20 coming to the first training unit and leveled out over time to a group of 10–12 boxers in the subsequent sessions. <br />
Sofia and Airin taught many techniques, including a basic set of moves and punches, as well as extensive sparring and body contact work. The classes started with warm-ups, followed by rehearsing footwork and punches, performing defense moves, and sparring with different partners. The classes often concluded with cardio fitness and fika (Swedish for snacks) in the "girls room." <br />
<br />
<br />
<br />
{{#ev:vimeo|https://vimeo.com/348912799|500|left|Box trainers Airin Fardipour and Sophia Thorne practicing the hook in the "girls room." |frame}} <br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
=AND Unboxing Talks=<br />
<br />
One element of AND's contract with Marabouparken konsthall was to hold a series of public talks or workshops during the residency. These scheduled events served to connect to a wider community in Stockholm – beyond the participants in the boxing sessions. Curator Jenny Richards served as a link with local cultural workers invested in similar topics, such as publishing as artistic practice, intersectional feminism, queer, and radical knowledge practices.<br />
<br/><br />
<br/><br />
<br />
<br />
<br />
[[File:AND Marabouparken Unboxing Talk1 02 lowres.jpg|thumb|left|350px|link=|Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]] '''Unboxing Talk #1 – What does it mean to understand publication not as a noun, but as a verb?'''<br />
<br/>{{Outerlink|http://wiki.evaweinmayr.com/index.php/File:AND_Boxing_questions_poster.jpg|see Boxing and Unboxing – Questions Poster}}<br />
From the announcement: "In this talk, Rosalie and Eva are in conversation about their approach to the residency, about the unboxing of their archive, and AND's wider practice." The questions on the poster were the starting point for this talk, which took place in a range of public and non-public spaces inside the konsthall and its surroundings: the gallery, the staff kitchen, AND's Unboxing Room, in the green of the surrounding park. This itinerant format was an attempt to move from the formal roles and settings of an "artist talk" to a more informal and socially productive format. <br />
<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1-1 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1 04 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<br clear=all><br />
<br />
[[File:AND Boxing Unboxing talk-2 lowres.jpg|350px|thumb|left|link=|Unboxing#2 Talk, Marabouparken konsthall, June 16, 2018.]]<br />
'''Unboxing Talk #2 – Authoring, Not-authoring, De-authoring'''<br />
<br/><br />
<br/><br />
From the announcement: "Rosalie and Eva will surprise each other with two short presentations on ownership and authorship – they don't know what each other will be presenting – followed by a discussion trying to unpick the experiences and tensions between the individual and the collective when it comes to working collectively – followed by ice-cream in the park."<br />
<br />
<br/><br />
<br clear=all><br />
<br />
[[File:AND Marabouparken Unboxing-3 workshop12 lowres.jpg|thumb|left|350px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]]'''Unboxing Talk #3 – Collage Workshop'''<br />
<br/><br />
From the announcement: "The last UNBOXING event with AND publishing is an active workshop: We will produce a ‘how to box and unbox’ guide. <br />
For this UNBOXING event, we are inviting back all the participants of the boxing classes in June, but it is also open to the curious who have never boxed before."<br />
<br />
This workshop provided an opportunity for the participants of the boxing training to reflect on their experiences during the boxing sessions as a relational, nonverbal, and bodily dialogue that transgressed the boundaries that we usually seek to protect. Retaining the idea of nonverbal dialogue, this reflection happened through images, drawings, and slogans – using pens, scissors, and glue rather than words.<br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop5 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop7 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop6 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop11 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop8 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Pages from AND Boxing and Unboxing Calendar, AND Publishing London, Marabouparken konsthall Stockholm, 2018=<br />
[[File:Web-AND-calendar-01.jpg|thumb|left|300px|link=|<i>Boxing and Unboxing Calendar</i> AND Publishing, London, Marabouparken konsthall, Stockholm, 2018. [http://andpublishing.org/boxing-and-unboxing-calendar-2019 www.andpublishing.org]]] <br />
<br />
This calendar was published by AND with the collages produced by the participants of the boxing classes. The visuals revisit the spirit, the experiences, and conflicts during the boxing classes. It includes a step-by-step guide to warming up exercises and an introduction to basic boxing techniques. The visuals in the calendar are contextualized by a text written by Ar Parmacek, an intern at Marabouparken konsthall at the time. Ar reflects on the concerns and observations in her role as a co-organizer and observer. In contrast to a book on the shelf, a calendar – on the wall or on the table – is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
{{:Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018}}</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_5_*_Boxing_and_Unboxing&diff=11615Project 5 * Boxing and Unboxing2020-10-13T09:36:27Z<p>Eva: /* AND set of poster announcement */</p>
<hr />
<div><br />
{{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization|see chapter 05*Reflection, theorization of projects: Boxing and Unboxing – against immunization}}<br />
Boxing and Unboxing took place following an invitation for a research residency invitation extended to AND Publishing by Marabouparken konsthall in Stockholm in 2018. This page tracks in a compact way the single steps AND Publishing (Rosalie Schweiker, Eva Weinmayr) undertook to set up and carry out this collaborative project. I review and reflect on the project's process and the findings in chapter 05*Reflection, theorization of projects.<br />
</br><br />
</br><br />
=Starting point and context: Marabouparken Guestroom Programme=<br />
<br />
The Marabouparken konsthall's Guestroom program "Acts of Self Ruin," curated by Jenny Richards, sets out to explore the struggle for collectivity and equality in an age of individualism. The program's purpose was to support artist groups or collectives in developing new lines of inquiry and to share these with diverse publics through workshops and events.<br />
<br />
Marabouparken’s Research Theme (2017–19) was described on its [http://marabouparken.se/acts-of-self-ruin/?lang=en website] as: <br />
::Through a range of activities including exhibitions, residencies, and a public program, we will explore acts in which communities and individuals have put themselves at risk or ruin in the pursuit of other ways of living, or in pursuit of equality and solidarity. Acts that might produce shame or embarrassment in their deviation from existing hierarchies; acts of communal inefficiency of professional disloyalty; of solidarity with a persecuted colleague, or the rejection of national identity. The research investigates not only overtly public political acts but also personal acts of self ruin. In what ways do we unlearn the encouraged subconscious individualistic ideology and its inherent classist, racist, and sexist perpetuations? Acts of Self Ruin is a concept explored by Leela Gandhi in her book <i>The Common Cause</i> (2014) and informs this inquiry. The book proposes different forms of solidarity and community developed through acts of self-ruination. Acts aimed at making common the cause between individuals across cultural, political and class divides. <br />
<br />
Major concerns dawned on us while thinking this invitation through. How can collectivity and community be built during a temporary residency? By definition, residencies dislocate a contextual and locally embedded practice to "take residence" in a new community. As artist Jeanne van Heeswijk, who developed several long-term and large-scale projects to "radicalize the local" ([[http://phlassembled.net/movement/index/jeanne_van_heeswijk/Philadelphia Assembled]]) pointed out in a talk at HDK-Valand in 2017, projects aiming at meaningful community-building require at least a three-year commitment. <br/><br />
<br />
So how could we potentially embark on a residency, develop new strands of practice and work meaningfully with the local community in this case? We started with (i) a set of questions, (ii) a draft document developing the terms and conditions of the collaboration with the institution and (iii) the idea to organize boxing classes for self-identifying women as part of this residency.<br/><br />
<br />
=AND Questions Poster=<br />
[[File:AND Marabouparken Poster questions2 lowres.jpg|350px|thumb|left|]]<br />
The poster assembled our doubts, questions, and interests on one page. It reflects our individual voices as well as our concerns with our collaborative practice within AND. "What does it mean to understand our work not as a noun but as a verb?" "Why do we NOT want a unified face?" "How can we subvert the social pressure to produce faces?" and "Who gives in? Who compromises? Who accommodates? Who cares? Who edits? Who organizes? Who translates? Do we need a new, less tired and exclusive language to talk about all of this? And how do you document laughter?" The poster was published on Marabouparken's website and exhibited as A0 poster in the exhibition space. <br clear=all><br />
<br />
=AND terms and conditions of working with institution=<br />
[[File:AND Boxing Terms and Conditions agreement.jpg|350px|thumb|left|link=http://wiki.evaweinmayr.com/images/d/df/Agreement_%27Terms_and_Conditions%27_for_AND_Guestroom_Residency_Marabouparken_Konsthall.pdf| "Terms and Conditions".]]<br />
The document specifying the terms and conditions was an evolving text, informed by a dialogue between curator Jenny Richards and AND. This document was revised several times throughout the residency. It laid the foundations for the collaboration, articulating the expectations of the institution as well as those of the invited artists. It was agreed, for example, that the artists would be visible on their own terms. This stipulation requests that the institution consult the artists as to how this project is to be made public through social media and press releases. <br />
<br />
This clause paid attention to the fact that institutions can at times co-opt and frame artistic work in line with their own templates and secured control of what is made visible and what not. The terms and conditions document provided protection against enforced compromise, potentially driven by institutional requirements for publicness and publicity. One of the main conversations between AND and Marabouparken konsthall was how the "development of a new strand of practice" could or should be articulated and publicized before the actual practice unfolds. The problem addressed here refers to previous experiences when the framing that occurs prior to the project taking place, through for example, its description, determine what is conceivable (or not) later on. We were keen to leave this as open as possible.<br />
<br />
<br clear=all><br />
<br />
=AND set of poster announcement=<br />
<br />
<br />
[[Image:AND Boxing and Unboxing poster lowres02.jpg|thumb|left|350px]]<br />
A set of four posters were printed and circulated. Translated into Swedish, English, Arabic and Tigrinya, they announced two weeks of boxing training for women, girls, trans and non-binary people in order to learn more about non-verbal negotiation, care, anger, dialogue, transgressions and self-defense. The posters stated that the boxing classes were free and open to all abilities, ages (16+), shapes and religions and were an experiment to learn to relate to each other and to negotiate the many conflicts and contradictions that shape our living and working together. They were distributed in community and art centers, libraries, and schools in the adjacent neighborhoods of Sundbyberg and Hallonbergen, and across Stockholm.<br />
<br/><br />
<br/><br />
<br />
=AND Unboxing Room=<br />
<br />
[[File:AND Marabouparken Unboxing Room11-2 lowres.jpg|thumb|left|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] <br />
<br />
AND shipped a pile of boxes to Marabouparken konsthall to be unboxed during the residency. The boxes contained ephemera, publications and documents AND has been working on and miscellaneous items related to AND's projects and inquiries. The initial plan of setting up the AND Unboxing Room in the main gallery space of the konsthall was altered because (i) it was hard to escape the somewhat rigid framing of the exhibition context and (ii) Anna Adahl’s neighboring video installation’s soundscape had a potentially transgressive effect on the work (iii) there was no daylight in the gallery space. These were limitations that did not allow us to set up a welcoming and informal space in the main galleries for both the public and ourselves to spend time with the materials. Therefore we moved out of the gallery and into the archive space in the administration wing of Marabouparken konsthall. Visitors were guided by konsthall staff through their offices to the AND Unboxing Room. The invitation reads:<br />
"You are welcome to explore AND’s projects and publications* in this Unboxing Room, to unbox yourself, or come to one of the public unboxing afternoons at the konsthall. AND wants you to unbox the many boxes surrounding us, including the boxes they have shipped to Marabouparken from London. These boxes contain many publications, documents, and miscellaneous items they have collected, made and worked with: [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [https://teachingforpeoplewhoprefernottoteach.bigcartel.com/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [https://whatisfeministpedagogy.tumblr.com/ Let’s Mobilize: What is Feminist Pedagogy?], [https://www.artsadmin.co.uk/events/3850 A selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as our terms and conditions, emails and other miscellaneous items."<br />
<br clear=all><br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room15 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room1 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room13 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room14 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room19 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room6 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing Gear=<br />
{{Outerlink|https://www.lttr.org/files/pdfs/lttr_1_bootleg.pdf|see: SCUB Manifesto: Society for cutting up boxes, LTTR#1, 2002, page 12}}<br />
[[File:AND Marabouparken Boxing Project Playground13 lowres.jpg|thumb|left|350px|link=|Boxing and Unboxing T-shirts, AND Publishing, 2018.]]<br />
We produced T-shirts and hoodies for the boxers attending the training sessions, and these proved to be popular elsewhere. Printed with the boxing glove collages (used in the posters) combined with the slogan "Box me in – no thank you," borrowed from Rhani Lee Remedes' "SCUB Manifesto" (Society for Cutting Up Boxes, 2002) they serve both as garment and as an (extended) publication.<br />
<br />
<br clear=all><br />
<br />
=Host: Project Playground, Hallonbergen=<br />
[[File:AND Boxing Project Playground Hallonbergen Stockholm.jpg|thumb|left|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]]<br />
{{Outerlink|https://www.project-playground.org| see website: Project Playground}}<br />
The choice of where the boxing classes should be held seemed crucial. Locating the training sessions within the premises of Marabouparken konsthall would most likely frame the activity as artistic, performative work. It could also be read as some kind of cool gallery outreach program. Project Playground, an after school club for young refugees in Stockholm's Hallonbergen district, was interested in promoting more activities for girls and offered to host the boxing training sessions.<br />
<br />
<br clear=all><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground3 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground5 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018 – the girls room.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground7 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground10 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground6 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing classes=<br />
<br />
The boxing classes took place every other day for a period of two weeks and were taught by Stockholm-based boxers Sofia Thorne and Airin Fardipour. Both are active in the Stockholm female boxing scene but had not much previous coaching experience. The project was then a new adventure for both the trainers (to develop a two-week intensive course for beginners) and the trainees (to start learning boxing). From the perspective of those of us learning to box, having two coaches was significant, as the authority of "the instructor" had been split across two instructing minds, bodies, voices, and sets of abilities and expertise. This also helped solving problems with communication, as Sofia and Airin ran bilingual classes, with Airin translating Sofia's Swedish instructions into English. <br />
<br />
The number of trainees varied between 20 coming to the first training unit and leveled out over time to a group of 10–12 boxers in the subsequent sessions. <br />
Sofia and Airin taught many techniques, including a basic set of moves and punches, as well as extensive sparring and body contact work. The classes started with warm-ups, followed by rehearsing footwork and punches, performing defense moves, and sparring with different partners. The classes often concluded with cardio fitness and fika (Swedish for snacks) in the "girls room." <br />
<br />
<br />
<br />
{{#ev:vimeo|https://vimeo.com/348912799|500|left|Box trainers Airin Fardipour and Sophia Thorne practicing the hook in the "girls room." |frame}} <br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
=AND Unboxing Talks=<br />
<br />
One element of AND's contract with Marabouparken konsthall was to hold a series of public talks or workshops during the residency. These scheduled events served to connect to a wider community in Stockholm – beyond the participants in the boxing sessions. Curator Jenny Richards served as a link with local cultural workers invested in similar topics, such as publishing as artistic practice, intersectional feminism, queer, and radical knowledge practices.<br />
<br/><br />
<br/><br />
<br />
<br />
<br />
[[File:AND Marabouparken Unboxing Talk1 02 lowres.jpg|thumb|left|350px|link=|Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]] '''Unboxing Talk #1 – What does it mean to understand publication not as a noun, but as a verb?'''<br />
<br/>{{Outerlink|http://wiki.evaweinmayr.com/index.php/File:AND_Boxing_questions_poster.jpg|see Boxing and Unboxing – Questions Poster}}<br />
From the announcement: "In this talk, Rosalie and Eva are in conversation about their approach to the residency, about the unboxing of their archive, and AND's wider practice." The questions on the poster were the starting point for this talk, which took place in a range of public and non-public spaces inside the konsthall and its surroundings: the gallery, the staff kitchen, AND's Unboxing Room, in the green of the surrounding park. This itinerant format was an attempt to move from the formal roles and settings of an "artist talk" to a more informal and socially productive format. <br />
<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1-1 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1 04 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<br clear=all><br />
<br />
[[File:AND Boxing Unboxing talk-2 lowres.jpg|350px|thumb|left|link=|Unboxing#2 Talk, Marabouparken konsthall, June 16, 2018.]]<br />
'''Unboxing Talk #2 – Authoring, Not-authoring, De-authoring'''<br />
<br/><br />
<br/><br />
From the announcement: "Rosalie and Eva will surprise each other with two short presentations on ownership and authorship – they don't know what each other will be presenting – followed by a discussion trying to unpick the experiences and tensions between the individual and the collective when it comes to working collectively – followed by ice-cream in the park."<br />
<br />
<br/><br />
<br clear=all><br />
<br />
[[File:AND Marabouparken Unboxing-3 workshop12 lowres.jpg|thumb|left|350px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]]'''Unboxing Talk #3 – Collage Workshop'''<br />
<br/><br />
From the announcement: "The last UNBOXING event with AND publishing is an active workshop: We will produce a ‘how to box and unbox’ guide. <br />
For this UNBOXING event, we are inviting back all the participants of the boxing classes in June, but it is also open to the curious who have never boxed before."<br />
<br />
This workshop provided an opportunity for the participants of the boxing training to reflect on their experiences during the boxing sessions as a relational, nonverbal, and bodily dialogue that transgressed the boundaries that we usually seek to protect. Retaining the idea of nonverbal dialogue, this reflection happened through images, drawings, and slogans – using pens, scissors, and glue rather than words.<br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop5 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop7 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop6 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop11 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop8 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Pages from AND Boxing and Unboxing Calendar, AND Publishing London, Marabouparken konsthall Stockholm, 2018=<br />
[[File:Web-AND-calendar-01.jpg|thumb|left|300px|link=|<i>Boxing and Unboxing Calendar</i> AND Publishing, London, Marabouparken konsthall, Stockholm, 2018. [http://andpublishing.org/boxing-and-unboxing-calendar-2019 www.andpublishing.org]]] <br />
<br />
This calendar was published by AND with the collages produced by the participants of the boxing classes. The visuals revisit the spirit, the experiences, and conflicts during the boxing classes. It includes a step-by-step guide to warming up exercises and an introduction to basic boxing techniques. The visuals in the calendar are contextualized by a text written by Ar Parmacek, an intern at Marabouparken konsthall at the time. Ar reflects on the concerns and observations in her role as a co-organizer and observer. In contrast to a book on the shelf, a calendar – on the wall or on the table – is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
{{:Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018}}</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_5_*_Boxing_and_Unboxing&diff=11614Project 5 * Boxing and Unboxing2020-10-13T09:35:42Z<p>Eva: /* AND set of poster announcement */</p>
<hr />
<div><br />
{{Interlink|5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization|see chapter 05*Reflection, theorization of projects: Boxing and Unboxing – against immunization}}<br />
Boxing and Unboxing took place following an invitation for a research residency invitation extended to AND Publishing by Marabouparken konsthall in Stockholm in 2018. This page tracks in a compact way the single steps AND Publishing (Rosalie Schweiker, Eva Weinmayr) undertook to set up and carry out this collaborative project. I review and reflect on the project's process and the findings in chapter 05*Reflection, theorization of projects.<br />
</br><br />
</br><br />
=Starting point and context: Marabouparken Guestroom Programme=<br />
<br />
The Marabouparken konsthall's Guestroom program "Acts of Self Ruin," curated by Jenny Richards, sets out to explore the struggle for collectivity and equality in an age of individualism. The program's purpose was to support artist groups or collectives in developing new lines of inquiry and to share these with diverse publics through workshops and events.<br />
<br />
Marabouparken’s Research Theme (2017–19) was described on its [http://marabouparken.se/acts-of-self-ruin/?lang=en website] as: <br />
::Through a range of activities including exhibitions, residencies, and a public program, we will explore acts in which communities and individuals have put themselves at risk or ruin in the pursuit of other ways of living, or in pursuit of equality and solidarity. Acts that might produce shame or embarrassment in their deviation from existing hierarchies; acts of communal inefficiency of professional disloyalty; of solidarity with a persecuted colleague, or the rejection of national identity. The research investigates not only overtly public political acts but also personal acts of self ruin. In what ways do we unlearn the encouraged subconscious individualistic ideology and its inherent classist, racist, and sexist perpetuations? Acts of Self Ruin is a concept explored by Leela Gandhi in her book <i>The Common Cause</i> (2014) and informs this inquiry. The book proposes different forms of solidarity and community developed through acts of self-ruination. Acts aimed at making common the cause between individuals across cultural, political and class divides. <br />
<br />
Major concerns dawned on us while thinking this invitation through. How can collectivity and community be built during a temporary residency? By definition, residencies dislocate a contextual and locally embedded practice to "take residence" in a new community. As artist Jeanne van Heeswijk, who developed several long-term and large-scale projects to "radicalize the local" ([[http://phlassembled.net/movement/index/jeanne_van_heeswijk/Philadelphia Assembled]]) pointed out in a talk at HDK-Valand in 2017, projects aiming at meaningful community-building require at least a three-year commitment. <br/><br />
<br />
So how could we potentially embark on a residency, develop new strands of practice and work meaningfully with the local community in this case? We started with (i) a set of questions, (ii) a draft document developing the terms and conditions of the collaboration with the institution and (iii) the idea to organize boxing classes for self-identifying women as part of this residency.<br/><br />
<br />
=AND Questions Poster=<br />
[[File:AND Marabouparken Poster questions2 lowres.jpg|350px|thumb|left|]]<br />
The poster assembled our doubts, questions, and interests on one page. It reflects our individual voices as well as our concerns with our collaborative practice within AND. "What does it mean to understand our work not as a noun but as a verb?" "Why do we NOT want a unified face?" "How can we subvert the social pressure to produce faces?" and "Who gives in? Who compromises? Who accommodates? Who cares? Who edits? Who organizes? Who translates? Do we need a new, less tired and exclusive language to talk about all of this? And how do you document laughter?" The poster was published on Marabouparken's website and exhibited as A0 poster in the exhibition space. <br clear=all><br />
<br />
=AND terms and conditions of working with institution=<br />
[[File:AND Boxing Terms and Conditions agreement.jpg|350px|thumb|left|link=http://wiki.evaweinmayr.com/images/d/df/Agreement_%27Terms_and_Conditions%27_for_AND_Guestroom_Residency_Marabouparken_Konsthall.pdf| "Terms and Conditions".]]<br />
The document specifying the terms and conditions was an evolving text, informed by a dialogue between curator Jenny Richards and AND. This document was revised several times throughout the residency. It laid the foundations for the collaboration, articulating the expectations of the institution as well as those of the invited artists. It was agreed, for example, that the artists would be visible on their own terms. This stipulation requests that the institution consult the artists as to how this project is to be made public through social media and press releases. <br />
<br />
This clause paid attention to the fact that institutions can at times co-opt and frame artistic work in line with their own templates and secured control of what is made visible and what not. The terms and conditions document provided protection against enforced compromise, potentially driven by institutional requirements for publicness and publicity. One of the main conversations between AND and Marabouparken konsthall was how the "development of a new strand of practice" could or should be articulated and publicized before the actual practice unfolds. The problem addressed here refers to previous experiences when the framing that occurs prior to the project taking place, through for example, its description, determine what is conceivable (or not) later on. We were keen to leave this as open as possible.<br />
<br />
<br clear=all><br />
<br />
=AND set of poster announcement=<br />
<br />
<br />
[[Image:AND Boxing and Unboxing poster lowres02.jpg|thumb|left|350px]]<br />
A set of four posters were printed and circulated. Translated into Swedish, English, Arabic and Tigrinya, they announced two weeks of boxing training for women, girls, trans and non-binary people in order to learn more about non-verbal negotiation, care, anger, dialogue, transgressions and self-defence. The posters stated that the boxing classes were free and open to all abilities, ages (16+), shapes and religions and were an experiment to learn to relate to each other and to negotiate the many conflicts and contradictions that shape our living and working together. They were distributed in community and art centers, libraries, and schools in the adjacent neighbourhoods of Sundbyberg and Hallonbergen, and across Stockholm.<br />
<br clear=all><br />
<br clear=all><br clear=all><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br />
=AND Unboxing Room=<br />
<br />
[[File:AND Marabouparken Unboxing Room11-2 lowres.jpg|thumb|left|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] <br />
<br />
AND shipped a pile of boxes to Marabouparken konsthall to be unboxed during the residency. The boxes contained ephemera, publications and documents AND has been working on and miscellaneous items related to AND's projects and inquiries. The initial plan of setting up the AND Unboxing Room in the main gallery space of the konsthall was altered because (i) it was hard to escape the somewhat rigid framing of the exhibition context and (ii) Anna Adahl’s neighboring video installation’s soundscape had a potentially transgressive effect on the work (iii) there was no daylight in the gallery space. These were limitations that did not allow us to set up a welcoming and informal space in the main galleries for both the public and ourselves to spend time with the materials. Therefore we moved out of the gallery and into the archive space in the administration wing of Marabouparken konsthall. Visitors were guided by konsthall staff through their offices to the AND Unboxing Room. The invitation reads:<br />
"You are welcome to explore AND’s projects and publications* in this Unboxing Room, to unbox yourself, or come to one of the public unboxing afternoons at the konsthall. AND wants you to unbox the many boxes surrounding us, including the boxes they have shipped to Marabouparken from London. These boxes contain many publications, documents, and miscellaneous items they have collected, made and worked with: [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [https://teachingforpeoplewhoprefernottoteach.bigcartel.com/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [https://whatisfeministpedagogy.tumblr.com/ Let’s Mobilize: What is Feminist Pedagogy?], [https://www.artsadmin.co.uk/events/3850 A selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as our terms and conditions, emails and other miscellaneous items."<br />
<br clear=all><br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room15 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room1 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room13 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room14 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room19 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Unboxing Room6 lowres.jpg|thumb|none|350px|link=|AND Unboxing Room, Marabouparken konsthall, April–August 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing Gear=<br />
{{Outerlink|https://www.lttr.org/files/pdfs/lttr_1_bootleg.pdf|see: SCUB Manifesto: Society for cutting up boxes, LTTR#1, 2002, page 12}}<br />
[[File:AND Marabouparken Boxing Project Playground13 lowres.jpg|thumb|left|350px|link=|Boxing and Unboxing T-shirts, AND Publishing, 2018.]]<br />
We produced T-shirts and hoodies for the boxers attending the training sessions, and these proved to be popular elsewhere. Printed with the boxing glove collages (used in the posters) combined with the slogan "Box me in – no thank you," borrowed from Rhani Lee Remedes' "SCUB Manifesto" (Society for Cutting Up Boxes, 2002) they serve both as garment and as an (extended) publication.<br />
<br />
<br clear=all><br />
<br />
=Host: Project Playground, Hallonbergen=<br />
[[File:AND Boxing Project Playground Hallonbergen Stockholm.jpg|thumb|left|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]]<br />
{{Outerlink|https://www.project-playground.org| see website: Project Playground}}<br />
The choice of where the boxing classes should be held seemed crucial. Locating the training sessions within the premises of Marabouparken konsthall would most likely frame the activity as artistic, performative work. It could also be read as some kind of cool gallery outreach program. Project Playground, an after school club for young refugees in Stockholm's Hallonbergen district, was interested in promoting more activities for girls and offered to host the boxing training sessions.<br />
<br />
<br clear=all><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground3 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground5 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018 – the girls room.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground7 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground10 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:AND Marabouparken Boxing Project Playground6 lowres.jpg|thumb|none|350px|link=|Project Playground, after school club, Hallonbergen, Stockholm, June 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=AND Boxing classes=<br />
<br />
The boxing classes took place every other day for a period of two weeks and were taught by Stockholm-based boxers Sofia Thorne and Airin Fardipour. Both are active in the Stockholm female boxing scene but had not much previous coaching experience. The project was then a new adventure for both the trainers (to develop a two-week intensive course for beginners) and the trainees (to start learning boxing). From the perspective of those of us learning to box, having two coaches was significant, as the authority of "the instructor" had been split across two instructing minds, bodies, voices, and sets of abilities and expertise. This also helped solving problems with communication, as Sofia and Airin ran bilingual classes, with Airin translating Sofia's Swedish instructions into English. <br />
<br />
The number of trainees varied between 20 coming to the first training unit and leveled out over time to a group of 10–12 boxers in the subsequent sessions. <br />
Sofia and Airin taught many techniques, including a basic set of moves and punches, as well as extensive sparring and body contact work. The classes started with warm-ups, followed by rehearsing footwork and punches, performing defense moves, and sparring with different partners. The classes often concluded with cardio fitness and fika (Swedish for snacks) in the "girls room." <br />
<br />
<br />
<br />
{{#ev:vimeo|https://vimeo.com/348912799|500|left|Box trainers Airin Fardipour and Sophia Thorne practicing the hook in the "girls room." |frame}} <br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
=AND Unboxing Talks=<br />
<br />
One element of AND's contract with Marabouparken konsthall was to hold a series of public talks or workshops during the residency. These scheduled events served to connect to a wider community in Stockholm – beyond the participants in the boxing sessions. Curator Jenny Richards served as a link with local cultural workers invested in similar topics, such as publishing as artistic practice, intersectional feminism, queer, and radical knowledge practices.<br />
<br/><br />
<br/><br />
<br />
<br />
<br />
[[File:AND Marabouparken Unboxing Talk1 02 lowres.jpg|thumb|left|350px|link=|Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]] '''Unboxing Talk #1 – What does it mean to understand publication not as a noun, but as a verb?'''<br />
<br/>{{Outerlink|http://wiki.evaweinmayr.com/index.php/File:AND_Boxing_questions_poster.jpg|see Boxing and Unboxing – Questions Poster}}<br />
From the announcement: "In this talk, Rosalie and Eva are in conversation about their approach to the residency, about the unboxing of their archive, and AND's wider practice." The questions on the poster were the starting point for this talk, which took place in a range of public and non-public spaces inside the konsthall and its surroundings: the gallery, the staff kitchen, AND's Unboxing Room, in the green of the surrounding park. This itinerant format was an attempt to move from the formal roles and settings of an "artist talk" to a more informal and socially productive format. <br />
<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1-1 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<li style="display: inline-block; padding:5px"> [[File:AND Marabouparken Unboxing Talk1 04 lowres.jpg|thumb|none|150px|link=|AND Unboxing Talk#1, Marabouparken konsthall, May 7, 2018.]]</li><br />
<br clear=all><br />
<br />
[[File:AND Boxing Unboxing talk-2 lowres.jpg|350px|thumb|left|link=|Unboxing#2 Talk, Marabouparken konsthall, June 16, 2018.]]<br />
'''Unboxing Talk #2 – Authoring, Not-authoring, De-authoring'''<br />
<br/><br />
<br/><br />
From the announcement: "Rosalie and Eva will surprise each other with two short presentations on ownership and authorship – they don't know what each other will be presenting – followed by a discussion trying to unpick the experiences and tensions between the individual and the collective when it comes to working collectively – followed by ice-cream in the park."<br />
<br />
<br/><br />
<br clear=all><br />
<br />
[[File:AND Marabouparken Unboxing-3 workshop12 lowres.jpg|thumb|left|350px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]]'''Unboxing Talk #3 – Collage Workshop'''<br />
<br/><br />
From the announcement: "The last UNBOXING event with AND publishing is an active workshop: We will produce a ‘how to box and unbox’ guide. <br />
For this UNBOXING event, we are inviting back all the participants of the boxing classes in June, but it is also open to the curious who have never boxed before."<br />
<br />
This workshop provided an opportunity for the participants of the boxing training to reflect on their experiences during the boxing sessions as a relational, nonverbal, and bodily dialogue that transgressed the boundaries that we usually seek to protect. Retaining the idea of nonverbal dialogue, this reflection happened through images, drawings, and slogans – using pens, scissors, and glue rather than words.<br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop5 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop7 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop6 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop11 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
<li style="display: inline-block; padding:20px"> [[File:AND Unboxing-3 workshop8 lowres.jpg|thumb|none|200px|link=|AND "Unboxing#3 Workshop, Marabouparken konsthall, August 26, 2018.]] </li><br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Pages from AND Boxing and Unboxing Calendar, AND Publishing London, Marabouparken konsthall Stockholm, 2018=<br />
[[File:Web-AND-calendar-01.jpg|thumb|left|300px|link=|<i>Boxing and Unboxing Calendar</i> AND Publishing, London, Marabouparken konsthall, Stockholm, 2018. [http://andpublishing.org/boxing-and-unboxing-calendar-2019 www.andpublishing.org]]] <br />
<br />
This calendar was published by AND with the collages produced by the participants of the boxing classes. The visuals revisit the spirit, the experiences, and conflicts during the boxing classes. It includes a step-by-step guide to warming up exercises and an introduction to basic boxing techniques. The visuals in the calendar are contextualized by a text written by Ar Parmacek, an intern at Marabouparken konsthall at the time. Ar reflects on the concerns and observations in her role as a co-organizer and observer. In contrast to a book on the shelf, a calendar – on the wall or on the table – is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
{{:Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018}}</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_3_*_The_Piracy_Project&diff=11613Project 3 * The Piracy Project2020-10-13T09:09:51Z<p>Eva: /* Workshops, Collective Research, Teaching with the Piracy Project */</p>
<hr />
<div>{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}<br />
<br />
The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br><br />
<br />
= Starting point and context: Byam Shaw School of Art Library closure =<br />
<br />
[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]<br />
<br />
<br />
The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.<br />
<br />
[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=Open Call for copied, modified, emulated, annotated books=<br />
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}<br />
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] <br />
</ul></div> <br />
<br />
The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.<br />
The international announcement stated:<br />
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.<br />
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.<br />
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all><br />
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]<br />
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] <br />
<br />
<br clear=all><br />
<br />
= Searchable online catalog=<br />
<br />
{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}<br />
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]<br />
<br />
The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).<br />
<br clear=all><br />
<br />
<br/><br />
<br/><br />
<br />
=Reading Rooms organized=<br />
<br />
<br />
[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]<br />
<br />
The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter 05*Reflection, theorization of projects. <br />
<br clear=all><br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}<br />
<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li><br />
{{Annotation|AF Munich}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}<br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Organizing discursive events= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]<br />
<br />
From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}} such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. <br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<div><ul><br />
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/><br />
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> <br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, <br />
"The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?<br />
<br />
We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]<br />
</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/><br />
<br />
For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]<br />
</li><br />
<br />
<br />
<br/><br />
<br/><br />
<br />
=Talks, interviews and panel discussions=<br />
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] <br />
<br />
In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.<br />
<br clear=all><br />
<div><ul><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/><br />
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"<br />
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.<br />
<br/><br/><br />
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.<br />
<br />
Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?<br />
<br />
One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) <br />
Moderated by Gary Hall (GB).<br />
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.<br />
<br />
How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.<br />
<br />
Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li><br />
<br />
<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> <br />
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.<br />
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.<br />
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).<br />
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/><br />
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?<br />
<br />
The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.<br />
<br />
Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.<br />
www.andpublishing.org<br />
<br />
Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited<br />
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/> →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/><br />
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/><br />
<br />
In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> <br />
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li><br />
</ul></div><br />
<br />
=Workshops, Collective Research, Teaching with the Piracy Project= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]<br />
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.<br />
<br clear=all><br />
<br />
[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]<br />
<br />
<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.<br />
<br/> <br />
<br/> <br />
<br clear=all><br />
<br />
[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]<br />
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."<br />
<br clear=all><br />
<br/><br />
<br />
<br />
<div style="width: 400px;"><br />
<div class="fadingimages"><br />
<slideshow sequence="forward" transition="fade" refresh="2500"><br />
<div>[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 18.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 17.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 19.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 16.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 20.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 21.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 22.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 23.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 25.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 24.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 27.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 29.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 33.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 32.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–Anna McCarthy, Tagar publication Page 34.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 35.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 37.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 38.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 40.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
</slideshow><br />
</div></div><br />
::::::::::::::::::::: <b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf '''Download zine produced during the workshop''']<br />
<br clear=all><br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br />
<br/> <br/><br/><br />
<br />
=Edited Publications=<br />
<br />
<br />
[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]<br />
<br />
<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.<br />
<br/><br/><br />
<br clear=all><br />
<br />
[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]<br />
<br />
<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/><br />
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.<br />
<br/><br />
<br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?<br />
<br/><br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.<br />
<br/><br/><br />
<br clear=all><br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]<br />
<br />
<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.<br />
<br />
At the time of writing, 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 />
Excerpt from the introduction to the book: "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." (...)<br />
<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=What Others Say=<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/><br />
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/><br />
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li><br />
<br />
</ul></div></div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_3_*_The_Piracy_Project&diff=11612Project 3 * The Piracy Project2020-10-13T09:04:52Z<p>Eva: /* Workshops, Collective Research, Teaching with the Piracy Project */</p>
<hr />
<div>{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}<br />
<br />
The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br><br />
<br />
= Starting point and context: Byam Shaw School of Art Library closure =<br />
<br />
[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]<br />
<br />
<br />
The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.<br />
<br />
[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=Open Call for copied, modified, emulated, annotated books=<br />
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}<br />
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] <br />
</ul></div> <br />
<br />
The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.<br />
The international announcement stated:<br />
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.<br />
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.<br />
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all><br />
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]<br />
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] <br />
<br />
<br clear=all><br />
<br />
= Searchable online catalog=<br />
<br />
{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}<br />
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]<br />
<br />
The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).<br />
<br clear=all><br />
<br />
<br/><br />
<br/><br />
<br />
=Reading Rooms organized=<br />
<br />
<br />
[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]<br />
<br />
The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter 05*Reflection, theorization of projects. <br />
<br clear=all><br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}<br />
<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li><br />
{{Annotation|AF Munich}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}<br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Organizing discursive events= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]<br />
<br />
From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}} such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. <br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<div><ul><br />
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/><br />
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> <br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, <br />
"The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?<br />
<br />
We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]<br />
</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/><br />
<br />
For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]<br />
</li><br />
<br />
<br />
<br/><br />
<br/><br />
<br />
=Talks, interviews and panel discussions=<br />
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] <br />
<br />
In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.<br />
<br clear=all><br />
<div><ul><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/><br />
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"<br />
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.<br />
<br/><br/><br />
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.<br />
<br />
Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?<br />
<br />
One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) <br />
Moderated by Gary Hall (GB).<br />
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.<br />
<br />
How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.<br />
<br />
Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li><br />
<br />
<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> <br />
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.<br />
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.<br />
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).<br />
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/><br />
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?<br />
<br />
The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.<br />
<br />
Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.<br />
www.andpublishing.org<br />
<br />
Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited<br />
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/> →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/><br />
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/><br />
<br />
In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> <br />
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li><br />
</ul></div><br />
<br />
=Workshops, Collective Research, Teaching with the Piracy Project= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]<br />
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.<br />
<br clear=all><br />
<br />
[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]<br />
<br />
<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.<br />
<br/> <br />
<br/> <br />
<br clear=all><br />
<br />
[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]<br />
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."<br />
<br clear=all><br />
<br/><br />
<br />
[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|left|400px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]<br />
<b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf '''Download zine produced during the workshop''']<br />
<br clear=all><br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br />
<br/> <br/><br/><br />
<br />
=Edited Publications=<br />
<br />
<br />
[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]<br />
<br />
<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.<br />
<br/><br/><br />
<br clear=all><br />
<br />
[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]<br />
<br />
<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/><br />
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.<br />
<br/><br />
<br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?<br />
<br/><br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.<br />
<br/><br/><br />
<br clear=all><br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]<br />
<br />
<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.<br />
<br />
At the time of writing, 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 />
Excerpt from the introduction to the book: "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." (...)<br />
<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=What Others Say=<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/><br />
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/><br />
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li><br />
<br />
</ul></div></div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_3_*_The_Piracy_Project&diff=11611Project 3 * The Piracy Project2020-10-13T09:04:20Z<p>Eva: /* Workshops, Collective Research, Teaching with the Piracy Project */</p>
<hr />
<div>{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}<br />
<br />
The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br><br />
<br />
= Starting point and context: Byam Shaw School of Art Library closure =<br />
<br />
[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]<br />
<br />
<br />
The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.<br />
<br />
[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=Open Call for copied, modified, emulated, annotated books=<br />
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}<br />
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] <br />
</ul></div> <br />
<br />
The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.<br />
The international announcement stated:<br />
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.<br />
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.<br />
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all><br />
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]<br />
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] <br />
<br />
<br clear=all><br />
<br />
= Searchable online catalog=<br />
<br />
{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}<br />
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]<br />
<br />
The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).<br />
<br clear=all><br />
<br />
<br/><br />
<br/><br />
<br />
=Reading Rooms organized=<br />
<br />
<br />
[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]<br />
<br />
The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter 05*Reflection, theorization of projects. <br />
<br clear=all><br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}<br />
<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li><br />
{{Annotation|AF Munich}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}<br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Organizing discursive events= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]<br />
<br />
From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}} such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. <br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<div><ul><br />
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/><br />
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> <br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, <br />
"The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?<br />
<br />
We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]<br />
</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/><br />
<br />
For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]<br />
</li><br />
<br />
<br />
<br/><br />
<br/><br />
<br />
=Talks, interviews and panel discussions=<br />
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] <br />
<br />
In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.<br />
<br clear=all><br />
<div><ul><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/><br />
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"<br />
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.<br />
<br/><br/><br />
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.<br />
<br />
Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?<br />
<br />
One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) <br />
Moderated by Gary Hall (GB).<br />
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.<br />
<br />
How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.<br />
<br />
Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li><br />
<br />
<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> <br />
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.<br />
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.<br />
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).<br />
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/><br />
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?<br />
<br />
The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.<br />
<br />
Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.<br />
www.andpublishing.org<br />
<br />
Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited<br />
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/> →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/><br />
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/><br />
<br />
In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> <br />
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li><br />
</ul></div><br />
<br />
=Workshops, Collective Research, Teaching with the Piracy Project= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]<br />
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.<br />
<br clear=all><br />
<br />
[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]<br />
<br />
<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.<br />
<br/> <br />
<br/> <br />
<br clear=all><br />
<br />
[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]<br />
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."<br />
<br clear=all><br />
<br/><br />
<br />
[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]<br />
<b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf '''Download zine produced during the workshop''']<br />
<br clear=all><br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br />
<br/> <br/><br/><br />
<br />
=Edited Publications=<br />
<br />
<br />
[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]<br />
<br />
<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.<br />
<br/><br/><br />
<br clear=all><br />
<br />
[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]<br />
<br />
<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/><br />
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.<br />
<br/><br />
<br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?<br />
<br/><br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.<br />
<br/><br/><br />
<br clear=all><br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]<br />
<br />
<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.<br />
<br />
At the time of writing, 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 />
Excerpt from the introduction to the book: "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." (...)<br />
<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=What Others Say=<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/><br />
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/><br />
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li><br />
<br />
</ul></div></div>Evahttp://wiki.evaweinmayr.com/index.php?title=Project_3_*_The_Piracy_Project&diff=11610Project 3 * The Piracy Project2020-10-13T09:01:49Z<p>Eva: /* Workshops, Collective Research, Teaching with the Piracy Project */</p>
<hr />
<div>{{Interlink|5_Reflection,_theorization_of_projects#The_Piracy_Project|see chapter 05*Reflection, theorization of projects: The Piracy Project}}<br />
<br />
The Piracy Project (PP) is the third of the five projects that I submit for this PhD. Again, what follows is a quick overview. It lists the elements and steps – including short factual descriptions – that Andrea Francke and I have taken during the five years we were actively engaged in the project. A detailed reflection on the ways the PP explored enclosures in knowledge practices is provided in chapter 05*Reflection and theorization of projects. The pink text in the right-hand column is Andrea's voice, who in this form, added her perspective and reflections on the project. This comment feature – specifically coded for this kappa by Varia, Rotterdam – allows for those who have equal stakes in the projects to be present, and comment. This is an ongoing thread throughout this Wiki. I was keen to have the form of the writing mirror the poli-vocality that characterized the practice.</br></br><br />
<br />
= Starting point and context: Byam Shaw School of Art Library closure =<br />
<br />
[[File:Piracy Project Byam Shaw Reading Room Co-op-Abake poster.jpg|450px|thumb|left|link=|Byam Shaw Reading Room Co-op. Poster designed by Åbäke, London 2010.]]<br />
<br />
<br />
The Piracy Project started at Byam Shaw School of Art as a response to restrictive university policies: in 2010, the university management announced its plan to close the Byam Shaw School of Art library due to a merger with Central Saint Martins, University of the Arts London.{{Annotation|Byam Shaw}} Students were advised to visit the library on the main campus in the city center. In a joint effort, students and staff – supported by the acting principal – turned Byam Shaw's art college library into a self-organized and self-governed library that remained public, and intellectually and socially generative. There was not a clear-cut question that triggered TPP at this point. It was rather a political situation at the art school and the desire to organize against it – as well as Andrea Francke's parallel and puzzling discovery of specific cases of book piracy in Peru, where pirates had started to alter and amend the plot of some fiction books anonymously.<br />
<br />
[[File:Piracy Project Byam Shaw Fight the cuts demo lowres.jpg|450px|thumb|left|link=| Fight the Cuts Demo London, March 2010.]]<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=Open Call for copied, modified, emulated, annotated books=<br />
{{Outerlink|https://www.art-agenda.com/announcements/187996/n-a|see Piracy Project announcement: Art-Agenda newsletter}}<br />
[[File:Piracy Project Open Call Poster.jpg|thumb|left|450px|link=|Piracy Project Open Call Poster circulated at educational and cultural spaces across London, 2011.]] <br />
</ul></div> <br />
<br />
The open call {{Annotation|AF Open Call}} circulated locally via printed posters and flyers, on AND Publishing's website, and internationally, through an art-agenda newsletter. This also announced "The Pirate Lectures", a series of talks with artists, lawyers, journalists, writers, artists, and independent publishers exploring the topic of book piracy from different perspectives.<br />
The international announcement stated:<br />
"Andrea Francke & AND Publishing would like to invite you to contribute to The Piracy Project, an international publishing and exhibition project exploring the philosophical, legal and practical implications of book piracy and creative modes of reproduction.<br />
With a series of talks from guest speakers, workshops, and an open call for pirated book projects to add to a Piracy Collection, we aim to develop a critical and creative platform for issues raised by acts of cultural piracy. After a period of research and production at Byam Shaw Reading Room in London, this unique collection of books will travel to international venues in 2011.<br />
The Piracy Project is not about stealing or forgery. It is about creating a platform to innovatively explore the spectrum of copying / re-editing / translating / paraphrasing / imitating / re-organizing / manipulating of already existing works. Here creativity and originality sit not in the borrowed material itself, but in the way, it is handled."<br clear=all><br />
[[File:Piracy Project Open call announcement art agenda.jpg|thumb|none|450px|link=https://www.art-agenda.com/announcements/187996/n-a||AND Publishing announcement on art agenda newsletter, 4 May 2011.]]<br />
[[File:Piracy Project Open Call Leaflet.jpg|thumb|none|450px|link=|The Piracy Project info package, 2011, included: the project description, a photocopy of Jorge Louis Borges's short story 'Pierre Menard, Author of the Quixote', an index card with contact details.]] <br />
<br />
<br clear=all><br />
<br />
= Searchable online catalog=<br />
<br />
{{Outerlink|http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|see project 3* Piracy Project: Searchable Online Catalog}}<br />
[[File:Piracy Project Searchable Online Catalogue.jpg|450px|left|thumb|link=http://andpublishing.org/PublicCatalogue/PCat_thumbs.php|The Piracy Project, [http://andpublishing.org/PublicCatalogue/PCat_thumbs.php '''searchable online catalogue.'''] ]]<br />
<br />
The local, national and international entries that we received (i) from students, staff and alumni at the art school, (ii) sent to us from across the world or (iii) found through our research and residencies in Peru, China, and Turkey{{Annotation|AF Catalogue}} are cataloged on a searchable online database. The catalog descriptions, created in collaboration with writer John Moseley, provide selected metadata as well as the strategies of reproduction, modification, and distribution used by the respective pirate. The catalog lists the title, author (= pirate), date, publisher (= pirate), format, print technique, source (the book that had been copied), and context of the activity (as far as we are aware of it).<br />
<br clear=all><br />
<br />
<br/><br />
<br/><br />
<br />
=Reading Rooms organized=<br />
<br />
<br />
[[File:Piracy Project Byam Shaw Pirate Lectures and Lab announcement.jpg|thumb|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|left|450px|Piracy Project at Byam Shaw School of Art Library, London, May–June 2011.]]<br />
<br />
The first and longest-running reading room was at Byam Shaw School of Art Library (2010–12). Situated as part of a politicized community of practice during these years the major part of the books was brought together through a shared struggle to oppose government funding cuts and the planned closure of the art school library, as detailed above. After the Byam Shaw library was eventually closed, The Showroom hosted the PP in the form of a one-year residency. With Arts Council funding we organized a set of workshops and talks at the Showroom (see below). Following this, a range of cultural institutions invited the PP to install temporary reading rooms in their exhibition premises. From this point, the project started to "tour" to different venues, contexts and communities, a development that changed the way the project operated, and which I discuss in the chapter 05*Reflection, theorization of projects. <br />
<br clear=all><br />
<div><ul><br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project NYABF.jpg|thumb|none|450px|link=https://www.e-flux.com/announcements/35145/the-ny-art-book-fair/|Piracy Project Reading Room, New York Art Book Fair, MoMA PS1, New York. September 30 – October 2, 2011.]] </li>{{Annotation|AF PS1}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piacy Project SALT Istanbul lr.jpg|thumb|none|450px|link=https://saltonline.org/en/274/the-piracy-project|Piracy Project Reading Room, SALT Research Galata, Istanbul (in former bank vault). Curated by Joseph Redwood Martinez. March 6–30, 2012.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project The Showroom Casco GDR 1654 lowres.jpg|thumb|none|450px|link=https://www.theshowroom.org/exhibitions/the-grand-domestic-revolution-goes-on| Piracy Project Reading Room, "The Grand Domestic Revolution Goes On", The Showroom London, September 12 – October 27, 2012. <br/> In collaboration with Casco Utrecht. In the organizers' words: The Grand Domestic Revolution (GDR) is an ongoing "living research" project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Graz Truth is Concrete Wage for work.jpg|thumb|none|450px|link=http://truthisconcrete.org/programme/programme.php|Contibution by Wages for Work, Piracy Project Reading Room, "Truth is Concrete, Steirischer Herbst", Graz. Curated by Florian Malzacher. September 21–28, 2012.]] </li>{{Annotation|AF Truth is Concrete}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Oslo10 Base 0134 lr.jpg|thumb|none|450px|Piracy Project exhibition, "Books From the Ships", Oslo 10, Basel. Curated by Simone Neuenschwander and Christiane Rekade.<br/>November 15, 2012 – January 5, 2013.]] </li>{{Annotation|AF Oslo}}<br />
<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Birmingham Grand Union Reading Room 1310 lowres.jpg|thumb|none|450px|link=https://grand-union.org.uk/exhibitions/and-publishing-the-piracy-project|Piracy Project Reading Room, Grand Union, Birmingham. </br>Curated by Cheryl Jones. December 6, 2013 – February 8, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room KHM Cologne 2926.jpg|thumb|none|450px|link=https://www.khm.de/glasmoog_programmarchiv/news.3056.the-piracy-project-reading-room-12-09-bis-25-10-2014/|Piracy Project Reading Room, Glasmoog, KHM Academy of Media Art, Cologne. Curated by Heike Ander. September 11 – October 25, 2014.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Kunstverein Munich Reading Room lr.jpg|thumb|none|450px|link=http://kunstvereinmuenchen.de/newsletter/piracy-collection.htm|Piracy Project Reading Room, Kunstverein Munich. Curated by Saim Demircan. November 4–28, 2014.]] </li><br />
{{Annotation|AF Munich}}<br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Reading Room Bluecoat Liverpool.jpg|thumb|none|450px|link=http://thisistomorrow.info/articles/resource|Piracy Project Reading Room, in the exhibition "Resource", The Bluecoat Liverpool. Curated by Marie-Anne McQuai. July 18 – September 27, 2015.]] </li><br />
<br />
<li style="display: inline-block; padding:5px"> [[File:Piracy Project Paper Struggles Raven Row lowres.jpg|thumb|none|450px|link=http://www.ravenrow.org/events/paper_struggles/|Piracy Project at "Paper Struggles", Raven Row, London. A short-term exhibition and seminar conceived by Marcell Mars and Tomislav Medak. December 9–11, 2019.]] </li>{{Annotation|AF Paper Struggles}}<br />
<br />
</ul></div><br />
<br />
<br clear=all><br />
<br />
=Organizing discursive events= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab2 lowres.jpg|thumb|left|400px|link=|Workshop: "Pirate Lab", Byam Shaw School of Art Library, London, May–June, 2011.</br> The Pirate Lab was a series of open workshops and conversations on strategies and politics of unauthorized copying and reproduction.]]<br />
<br />
From its very beginning, the PP was concerned with testing, discussing and disrupting conceptions of authorship and ownership, and to discuss the moral and legal boundaries of cultural piracy. Therefore, the open call for pirated books as well as our research into existing book piracy (enclosures, property relations, censorship, market monopolies, commercial interests) was a means of exploring these issues. This took place through a range of discursive events{{Annotation|AF Discursive}} such as workshops, debates, and talks that we organized, mostly in the form of temporary reading rooms with the books as exemplary cases to refer to. <br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br/><br />
<div><ul><br />
<li style=" display: inline-block; padding:0px"> [[File:Piracy Project Pirate Lecture Andreas Findings in Peru lowres.jpg|thumb|link=|left|400px|Talk: "Pirate Books in Peru", an illustrated talk by Andrea Francke, X Marks the Bökship, London, March 25, 2011.</b></br>Book piracy exists in many emerging countries and book pirates in Peru, for example, go beyond creating unlicensed reprints – they have even begun to interfere with the content. An entire genre of "improved" versions is emerging. <br/><br />
In this illustrated talk artist, Andrea Francke presented the findings of her recent research trip to Lima, where she visited locations where pirated books are for sale, including book stores, copy shops, street markets, and traffic lights. She returned with a heavy suitcase full of reprints to London – displayed at X Marks the Bökship as part of AND's "Publisher of the Month Residency" in 2011.<br/> →[https://vimeo.com/24135913 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Poster Piracy Lectures lowres.jpg|thumb|400px|link=http://wiki.evaweinmayr.com/images/1/13/Piracy_Project_Poster_Piracy_Lectures_lowres.jpg|none|400px| "Pirate Lectures", Byam Shaw School of Art, May–June, 2011.</br>A series of public lectures to explore practical, conceptual, political, and ethical questions around book piracy, the concept of authorship, and politics of copyright.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture James Bridle lowres.jpg|thumb|link=|none|400px|Pirate Lecture: James Bridle, "The New Pierre Menard: Digitisation and everything after", Byam Shaw School of Art Library, May 5, 2011. <br/>Bio (2011): James Bridle is a publisher, writer, and artist based in London, UK. He makes things with words, books and the internet; sometimes, the results look like businesses, and sometimes they don't. He speaks at conferences worldwide and writes about what he does at booktwo.org.<br/> →[https://vimeo.com/23787096 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Eleanor Vonne Brown lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Eleanor Vonne Brown, "Copy and Paste: re-reading uncreative writing", Byam Shaw School of Art Library, May 12, 2011. <br/>Bio (2011): Eleanor Vonne Brown set up X Marks the Bökship, a London based project space for independent publishers specialising in publishing works and projects by artists and designers, books by independent publishers, journals and discourse.<br/> →[https://vimeo.com/24129908 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Daniel McClean lowres.jpg|thumb|link=|none|400px|Pirate Lecture: Daniel McClean, "Authorship & Originality in Art", Byam Shaw School of Art Library, May 19, 2011.<br/>Bio (2011): Daniel McClean is an independent curator, writer, and art-legal adviser. McClean is a solicitor at Finers Stephens Innocent LLP, where he specializes in art, media, and intellectual property law. McClean writes regularly on art legal matters. He was the editor of <i>The Trials of Art</i> (2007), and <i>Dear Images: Art, Copyright and Culture</i> (2002).<br/> →[https://vimeo.com/24384608 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Maria Fusco low res.jpg|thumb|link=|none|400px|Pirate Lecture: Maria Fusco, "The Incunabulum and the Plastic Bag", Byam Shaw School of Art Library, May 26, 2011. <br/>Bio (2011): Maria Fusco is a Belfast-born writer based in London. Her first collection of short stories <i>The Mechanical Copula</i> has just be published by Sternberg Press. She is the founder/editor of <i>The Happy Hypocrite</i> a semi-annual journal for and about experimental art writing, and Director of Art Writing at Goldsmiths, University of London.<br/> →[https://vimeo.com/25225399 Watch podcast].]]</li> <br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Bobbie Johnson2.jpg|thumb|link=|none|400px|Pirate Lecture: Bobbie Johnson, <br />
"The Copy Continuum: cultural perceptions of piracy, and the future of ideas",Byam Shaw School of Art Library, June 2, 2011.<br/>Bio (2011): Bobbie Johnson is a journalist, writer, and trouble-maker based in Brighton who specializes in covering the intersection of technology and society. He has written for a range of outlets from the BBC to Wired and acts as a European editor for technology blog GigaOM. He was previously an editor and reporter with <i>The Guardian</i> for nearly a decade, based in London and San Francisco.<br/> →[https://vimeo.com/24905496 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Byam Shaw Pirate Lecture Prodromos Tsiavos low res.jpg|thumb|link=|none|400px|Pirate Lecture: Dr. Prodromos Tsiavos, "Of Pirates and Archivists: the boundaries of copyright limitations and exceptions and the underground archiving movement",<br/> Byam Shaw School of Art Library, June 9, 2011.<br/>Bio (2011): Prodromos Tsiavos is the legal project lead for the Creative Commons -England and Wales (CC-EW) and -Greece (CC-Greece) projects, and an associate in Avgerinos Law Firm in Athens. Among other academic engagements, he is a research officer at the London School of Economics and has worked for the European Commission and Oxford University. He advises the Greek Prime Minister's e-Government Task Force on legal issues of open data as well as the Special Secretary for Digital Planning.<br/> →[https://vimeo.com/25130385 Watch podcast].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Berlin Miss Read-Open Mic-flyer.jpg|thumb|none|400px|link=|Open Mic: "I am a pirate – are you? ", Miss Read, KW Institute for Contemporary Art, Berlin, November 25–27, 2011.<br/> Announcement: We are interested in the methodology of piracy and its significance for contemporary culture. The word piracy is applied to very different activities ranging from file sharing to attacking freight ships, from the production of counterfeit goods to mixing culture and – to political parties. We, The Piracy Project, are not only interested in your bit-torrent or fake goods but whether you use the works of others to build your own? Have you been pirated yourself and feel robbed of your intellectual property? Where are the limits in our engagement with culture?<br />
<br />
We would like to hear from you! Your input can be a lengthy declaration or as short as one sentence.]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Printed Matter NY.jpg|thumb|none|400px|link=https://www.printedmatter.org/programs/events/76|Panel discussion: "The Piracy Project at Printed Matter", Printed Matter, New York, August 17, 2012.<br/> With David Senior (bibliographer at MoMA), Anthony Huberman, (director of CCA Wattis Los Angeles), Joanne Mc Neil, (editor of Rhizome, NY), Sergio Munoz Sarmiento, (Art and Law, NY) in the exhibition ''Helpless'' curated by Chris Habib (July 14 – September 29, 2012).]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project The Showroom Hemmungs-Wirten lr.jpg|thumb|link=https://www.theshowroom.org/events/and-publishing-residency|none|400px|Roundtable: Eva Hemmungs-Wirtén (Stockholm), "Polyglot Piracy: Translation and the Instability of Texts", The Showroom London, March 23, 2013.<br/>As a catalyst for conflicts over the perceived stability of the literary work; the relationship between authors and readers and the geopolitical tensions between producer and user nations, Professor Wirtén suggests that translation offers a complimentary, productive, and still largely unexplored approach into the authorship – copy-right conundrum relevant for copyright historians and print culture scholars.]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Stephen Wright The Showroom.jpg|thumb|none|400px|link=http://theshowroom.createsend1.com/t/ViewEmail/r/FBAC495AA4EC5F462540EF23F30FEDED/10C944F5747F72EA23B7CB3C95A53812|Roundtable Workshop: Stephen Wright (Paris), "Usership", The Showroom, London, May 18, 2013.<br/> In this workshop with Stephen Wright we will unpack the ideologies that hide behind the word "piracy". "... I feel more comfortable with a notion of "poaching" instead of piracy: poachers are those who, in the shadow of the night, make forays behind the enclosures of the owner's land, capture their prey, and withdraw. I guess poaching, too, has a bad name, but I think both the scale and mode of intervention are more appropriate to describing off-the-radar cultural practices today [...] Usership stands opposed to the whole conceptual institution of ownership – the very thing that piracy, in its contemporary cultural coinage, like poaching and hacking, is supposed to challenge", (Stephen Wright).]] </li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Courtroom Drawing The Showroom.jpg|thumb|none|400px|link=http://andpublishing.org/a-day-at-the-court-room/|Performative Debate: "A Day at the Courtroom", The Showroom London, June 15, 2013.<br/> With Lionel Bently (Professor of Intellectual Property at the University Cambridge), Sergio Muñoz Sarmiento (Art and Law, New York), Prodromos Tsiavos (Creative Commons, England, Wales and Greece).</br>In a performative debate, three intellectual property lawyers will use their different legal backgrounds (USA, UK, Continental Europe) to explore concepts of legality, illegality and the nuances in-between, assessing selected cases from The Piracy Collection. Courtroom drawing by Thandiwe Stephanie Johnstone.]]<br />
</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project New York Artbookfair 2014.jpg|thumb|none|400px|link=https://nyabf2014.printedmatterartbookfairs.org/Programs|Panel Discussion: Sergio Munoz Sarmiento, Lauren Haaften-Schick, Andrea Francke, Eva Weinmayr, "The Classroom", curated by David Senior, The New York Art Bookfair, MoMA PS1, New York, September 28, 2014.<br/><br />
<br />
For "The Classroom" event program, we invited artist Lauren Haaften-Schick and lawyer Sergio Munoz Sarmiento to discuss their recent article "Cariou v. Prince: towards a theory of aesthetic-judicial judgments" in which they analyze the Second Circuit's verdict in the "Cariou vs. Prince" fair use ruling. In this text, Munoz Sarmiento and van Haaften-Schick reflect on questions of labor, class, and celebrity in this ruling, and what happens when appropriation turns, via fair use, into a tool of power. →[http://wiki.evaweinmayr.com/images/d/d0/Sarmiento_van_Haaften-Schick_Toward-a-Theory-of-Aesthetic-Judicial-Judgments_Cariou-v-Prince.pdf Download article].]]<br />
</li><br />
<br />
<br />
<br/><br />
<br/><br />
<br />
=Talks, interviews and panel discussions=<br />
[[File:Piracy Project Amass Chisenhale Page 1.jpg|link=|thumb|left|400px|link=|Presentation, public conference: "AMASS: Towards an Economy of the Commons", Chisenhale Gallery, London, April 16, 2011. Organized by Doxa, …ment and Amateurist Network, three independent collectives based in London. This one-day event addresses the question, 'What is the protocol of the commons?'. Artists, academics, and policymakers debate culture-led regeneration, precarity in the cultural economy, and open-source practices in the digital domain. www.chisenhale.org.uk]] <br />
<br />
In the early 2000s, the media industry as well as other market monopolies made several efforts to extend and toughen copyright policies against so-called online piracy and peer-to-peer sharing networks. The proposed "Anti-Counterfeiting Trade Agreement" (ACTA, 2011) attempted to establish an international legal standard for intellectual property rights enforcement targeting counterfeit goods, generic medicines and copyright infringement on the Internet. Similarly in the USA, the "Stop Online Piracy Act" (SOPA, 2012) provoked massive international protest and debate among the open culture, open-source, and copyleft movements on disobedient counter-strategies, and practices of commoning as a way to oppose the looming enclosures.<br />
<br clear=all><br />
<div><ul><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Whitechapel cultural piracy talk CaoChangdi Beijing.jpg|link=|thumb|none|400px|link=https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy|Presentation and panel discussion: "Cultural Piracy", Whitechapel Art Gallery, London, September 24, 2011. With Nick Thurston (information as material, UK), The Piracy Project (UK), Kenneth Goldsmith (Ubuweb, US). Presentation slide: Entrance gate to Ai Weiwei's studio "Fake Design", CaoChangdi, Beijing China, 2012. Photo: The Piracy Project. <br/><br />
In the organizers' words: "Where does the creative act lie in the process of copying? Cultural piracy is pervading publishing worldwide, but what makes these new forms original and what issues are raised?"<br />
<br/> →[https://soundcloud.com/whitechapel-gallery/discussion-cultural-piracy Listen on sound cloud].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project SALT Istanbul Futures and Options Talk 0443 lowres.jpg|400px|thumb|left|link=https://saltonline.org/en/272/series-of-talks-futures-and-options|Public Talk: "Futures and Options", SALT Beyoğlu, Istanbul, March 15–16, 2012. A lecture series in the context of Joseph Redwood-Martinez's research project, "One Day Everything will be free." With Matteo Pasquinelli, Laurel Ptak, Özgür Uçkan, Caleb Waldorf, the Piracy Project.<br />
<br/><br/><br />
In the organizers' words: "The seemingly indispensable tools we use daily for social networking and online communication are all increasingly provided to us for free. In fact, as our way of life is becoming dependent on these and other gifted resources, many of the largest and most influential companies in the world are beginning to profit more from giving certain things away than from charging for them. Perhaps this growing flood of gifted goods implies that one day, everything will be free. But in any case, it becomes increasingly obvious: we're not paying for it because we're not the customer, we're the product being sold.<br />
<br />
Critical engagement with gift economies, open culture, intellectual property, and immaterial exploitation is not so new or unfamiliar, but the very real effects of these concepts are changing the way cultural practice is structured and how the once paying audience is now being enticed to remain involved, to keep giving, or to pay in other ways. But how are these new economic structures and their fundamental contradictions understood by cultural producers and social activists? How to engage with and situate oneself in relation to systems that facilitate the free exchange of information and ideas, yet simultaneously operate as structures of subjectification or mechanisms of corporatized social responsibility? Perhaps this could just start with a question a little closer to home: SALT is free, but at what or whose cost?<br />
<br />
One day, everything will be free…" is a long-term research project aimed at opening up questions about the economics of cultural institutional practice that in part stem from SALT being privately funded initiative partially located in the former Ottoman Bank. To encourage conversations about support structures for contemporary cultural production in Turkey, and to engage with cultural producers and audiences as they respond to and understand these structures, the dispersed research project will develop indefinitely with and through the participation of diverse publics and interlocutors. The invited speakers will look at the varied and conflicting legacies and implications of free economies, the recent turn within the field of cultural production toward reengaging with dormant economic imaginaries, and the changing relationships between what is privately owned and publicly shared in society." [https://saltonline.org/en/272/series-of-talks-futures-and-options].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Graz Truth is concrete 1772 lowres.jpg|400px|left|thumb|link=http://www.truthisconcrete.org/about/|Panel Discussion: "Copycats vs Mr Big" at Truth is Concrete, Steirischer Herbst, Graz, September 29, 2012. With Lucifer / Church of Kopimism (NL), Joost Smiers (NL), Andrea Francke & Eva Weinmayr / The Piracy Project (GB) <br />
Moderated by Gary Hall (GB).<br />
<br/><br/>In the organizers' words: "Copyright issues are in the media again – this time as part of a propaganda war. Witness Rupert Murdoch using Twitter to accuse Google of piracy, despite himself having been found guilty of heading an organization involved in hacking. Some small victories in this war have been achieved: the service blackout coordinated by Wikipedia and others in January 2012, resulting in the Stop Online Piracy Act (SOPA) bill being postponed. Yet the real winner is Mr. Big, in the guise of the multinational conglomerates of the cultural industries, who continue to control the production, distribution, and marketing of the vast majority of the cinema, music, literature, television, art and design that constitutes our culture.<br />
<br />
How, then, might we turn away from copyright laws designed for the benefit of the 1%, to find ways of openly sharing knowledge, culture and education, while at the same time providing creative workers with a fair reward for their labor? Creative Commons licenses, free and open-source software, the movements for open access, open data and open education, free culture, peer-to-peer production, file and text-sharing networks along with other "pirate" strategies may all offer challenges to the current copyright system. Yet do we not need to establish some "chains of equivalence" between them, forms of mutual alignment between, say, open education, free software and even Occupy Wall Street and the student protest movements? Is the struggle for copyleft and copyfarleft only a cultural question? Or does it require the development of a new kind of economy and society: one based far less on possession, accumulation, competition, celebrity, and ideas of knowledge, culture and education as something to be owned, commodified, disseminated and exchanged primarily for the profit of individuals and corporations?" [http://www.truthisconcrete.org/about/].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Vancouver Institutions by artists talk lowres.jpg|thumb|none|400px|link=http://arcpost.ca/conference|Public Talk: Andrea Francke at "States and Markets", at "Institutions by Artists" convention, Vancouver, October 12–15, 2012. Organized by the Pacific Association of Artist Run Centres (PAARC), Fillip, and the Artist-Run Centres and Collectives Conference (La Conférence des collectifs et des centres d’artistes autogérés, ARCA). <br/> <br/> In the organizers' words: "Institutions by Artists is a three-day, international event that evaluates and activates the performance and promise of contemporary artist-run centers and initiatives.<br />
<br />
Convening a world congress of artists, curators, critics, and academics, Institutions by Artists will deliberate, explore, and advance the common interests of artist-run centers, collectives, and cultures, creating a catalyst for new as well as divergent assessments and perspectives on such phenomena today. Using experimental formats, performative frameworks, and participatory vehicles, the three-day series of events is designed to challenge and generate new thinking about artist-run initiatives globally, examining many dimensions, whether urban or rural, fixed or mobile, and local or regional, among others. Inspired by the many artists wrestling creatively with building, using, shaping, and deploying institutions by artists, we will explore economies of exchange and knowledge; institutional time and space; as well as intimate and professional networks, among other critical interrogations".<br/>→[http://arcpost.ca/conference/session-six Watch session 6 "States and Markets"].]] </li><br />
<br />
<li style=" display: inline-block; padding:0px">[[File:Piracy Project Beijng Buying pirated books lowres.jpg|thumb|left|400px|link=|Conference presentation: "Piracy and Jurisprudence", Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, June 21–22, 2013.<br/> Convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law). <br/>Presentation slide: Buying pirated architecture books", Beijing, China, 2012. Credit: The Piracy Project.<br/><br/> <br />
In the organizers' words: "Adored and detested, pirates evoke moral and ethical ambivalence: and piracy as a term of law has always been exceptionally vulnerable to political agendas. More precisely, it has always been a term of both high imperial/hegemonic art, and significant radical potential. As such, it is a word with a weighty history of complex moral and ethical loading and reloading. But it always invokes a refusal of juridification: it is a term that defines the margins of criminal and international law as juridical categories.<br />
Pirates are a recurring symbol of the ocean as a space beyond jurisdiction and the juridification of thought itself: as such, both known and hidden pirates arguably estrange historical thinking. Piracy is a form of violence that challenges discourses that attempt to shore-up spaces that assert a moral monopoly on violence: and piracy is a form of textual transgression that challenges the very ability of the law to draw boundaries. But even as piracy is a form of violence, it constitutes a challenge to the very violence involved in writing itself. The relationship between piracy and the law directs us to question the constitution of the human condition itself.<br />
This workshop will aim to explicate and explore the multiple significations of piracy and to track the implications of these significations for both abstract and practical notions of justice. Always pursuing a long view of legal histories, the commitment of the workshop and the publication are to disciplinary and geographical diversity and methodological innovation. The workshop will tussle with the distinctiveness and boundlessness of piracy as a 'category' (that refuses categorization).<br />
This interdisciplinary workshop is hosted and kindly sponsored by the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute (SMMI)."]] </li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham Grand Union Public Library Talk.jpg|thumb|left|400px|link=https://archive.org/details/PiracyProjectBirminghamLibrary|Public Talk: "Active and Passive Love of Books, The Piracy Project in conversation with Cornelia Sollfrank". Birmingham Public Library, December 12, 2013. Organized by [https://grand-union.org.uk/gallery/the-piracy-project-2/ Grand Union] <br/><br/><br />
In the organizers' words: "This panel brings together artists Andrea Francke and Eva Weinmayr (Piracy Project) and Cornelia Sollfrank to discuss the legal frameworks that we engage with when we deal with each others' work. Artists, writers, and publishers are asking: what are the different ideologies behind these systems, and what are their implications?<br />
<br />
The speakers will explore the political and social implications of cultural piracy through examples from The Piracy Project collection.<br />
<br />
Andrea Francke & Eva Weinmayr run jointly The Piracy Project, an international publishing and exhibition project around the concept of originality, the fluidity of authorship and politics of copyright as part of AND Publishing's research program.<br />
www.andpublishing.org<br />
<br />
Cornelia Sollfrank, PhD, is an artist and researcher working at Duncan of Jordanstone College of Art and Design in Dundee, Scotland. Since the mid-1990s, her main interest lies in the exploration of the challenges art has to face under digital networked conditions. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework."]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Leipzig Alternate Futures 2166 lowres.jpg|400px|left|thumb|link=|Public Talk: "The Piracy Project, Alternate Futures", convened by Oliver Klimpel, Klasse für Systemdesign, Hochschule für Gestaltung und Buchkunst Leipzig, January 18, 2013.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Aarhus poster.jpg|link=|thumb|none|400px| Public Lecture: The Piracy Project in the series "Making Social Realities with Books". <br/> Curated by Brett Bloom. Rum 46, Aarhus, April 16, 2013. <br/><br/> In the organizer's words: "The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities, whether it is in small communities, or entire movements within art practices and related activities. For this series Brett and rum 46 invited<br />
[http://wiki.evaweinmayr.com/images/1/13/Making_Social_Realities_with_Books_Art_Leaks.jpg Art Leaks (New Brunswick)], [http://wiki.evaweinmayr.com/images/e/ee/Making_Social_Realities_with_Books_Eva_Egerman.jpg Eva Egerman (Vienna)], [http://wiki.evaweinmayr.com/images/8/86/Making_Social_Realities_with_Books_Public_Collectors.jpg Public Collectors (Chicago)], [http://wiki.evaweinmayr.com/images/d/dc/Making_Social_Realities_with_Books_David_Senior.jpg David Senior (San Francisco)], [http://wiki.evaweinmayr.com/images/8/8d/Making_Social_Realities_with_Books_Banu_Cennetoglu.jpg Banu Cenetoglu (Istanbul)], [http://wiki.evaweinmayr.com/images/5/53/Making_Social_Realities_with_Books_Brandon_LaBelle.jpg Brandon LaBelle (Copenhagen)], [http://wiki.evaweinmayr.com/images/3/37/Making_Social_Realities_with_Books_Delphine_Bedel.jpg Delphine Bedel (Berlin)] and [http://wiki.evaweinmayr.com/images/0/0a/Making_Social_Realities_with_Books_Lauren_van_Haften-Schick.jpg Lauren van Haften-Schick (New York)].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Talk Feminist-Writing Centre for Feminist Research Goldsmiths London 9.jpg|link=|thumb|none|400px|link=http://wiki.evaweinmayr.com/images/c/c1/Piracy_Project_Talk_Feminist-Writing_Centre_for_Feminist_Research_Goldsmiths_London_Programme.pdf|Conference presentation: "Feminist Writing", organized by the Centre for Feminist Research, Goldsmiths College, London, June 6, 2014. <br/><br/> In the organizers' words: "The questions of what to write, how to write, and where to write have always been central to feminism. Writing matters not only in the dissemination of knowledge but also in the creation of feminist publics. The history of feminism includes a history of materials that have been passed around. In this workshop, we hope both to return to some of these histories of feminist writing (to consider, for example, the role of feminist presses, the uses of brochures and pamphlets as well as experimentations with genres) as well as to reflect on the challenges and opportunities for feminists raised by digitalization. By 'writing' we thus not only refer to scripts or texts but all forms of communication." <br/> →[https://itunes.apple.com/gb/itunes-u/feminist-writing/id915768638?mt=10&ign-mpt=uo%3D2 Listen on itunes].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Barcelona FAD Talk.jpg|link=|thumb|none|400px|Conference presentation: "The Piracy Project @ Open Design Shared Creativity". Convened by FAD (Fostering Art and Design), Viviana Narotzky. Barcelona, July 5–6, 2013.<br/><br />
With Peter Troxler, Cecilia Tham, Marleen Stikker, Femke Snelting, Hannah Perner-Wilson, Cecilia Palmer, Sam Muirhead, Ezio Manzini, Antonin Léonard, Myles Lord, Patrick Kampmann, Tomas Diez, David Cuartielles, Javi Creus, Daniel Charny, Albert Cañigueral, Ricardo Amasté.<br/><br/><br />
<br />
In the organizers' words: "ODSC is an international forum that aims to present a variety of approaches to the concept of open design, touching different configurations of design practice, social design, user involvement and new business models. The main idea is to offer alternative visions to 'closed' and proprietary systems, be it in terms of the design process, business structure, social impact/participation, or dissemination. Digital technology and social networks have reached a point of maturity from which a new industrial culture is emerging, revolutionizing the processes of creation, mediation, distribution and consumption. Taking design in all its expressions and forms as a starting point, the conference is an important international forum of ideas, working platforms and specialized practices that are transforming the articulation of design with society, economy and culture." <br/> <br />
→[https://www.youtube.com/watch?v=7ZfhULH6lFE Watch on youtube].]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Amsterdam Sister.jpg|link=|thumb|none|400px|Dinner Conversation: "The Piracy Project" in the series "Sister from Another Mister", hosted and organised by Maria Guggenbichler. Florijn, De Bijlmer, Amsterdam, November 9, 2013.<br/><br/> In the organizer's words: "SISTER is a public events program for contemporary art, amateur conversations, users' culture, petit explorations in theory and practice, group hallucinations, specialists' strolls in the neighborhood, semi-academic thinking, science fiction of the past, reverse afro-futurism, the legacy of modernist urbanism, cultural cannibalism and queer appropriations, architecture parties, cooking dances, lingua franca, Wild Styles, Born in Flames, "Soup For The Night" becomes "Marble Cake On Sunday", former upper-class hobbies in what used to be a ghetto, R'n'B stars and HIP HOP. SISTER's home is the studio and apartment of BijlmAIR, artist residency program in Florijn 42, Amsterdam De Bijlmer." <br/>With Eva Weinmayr, Karin Michalski, Silvia Radicioni, Ann Cvetkovich, Sara Mattens, Anna McCarthy, Kapwani Kiwanga, Sun Ra, Wendy Van Wynsberghe, Maria Boletsi, Jerry Kno'Ledge Afriyie, Looi van Kessel, Gerlov van Engelenhoven, Maria Trenkel, Niklaus Mettler, Missy Elliot, DJ Døg, DJ Fair Trade, DJ Miss Samidi, DJ Boris Becker, Yeni Mao, Ivana Hilj, Rachel Somers Miles, Oswald de Andrade, Caetano Carvalho, Luc van Weelden, David Morris, Schizo Culture, Ti Grace Atkinson, Chris Kraus, DJ Nate, KRS-One, Deniz Unal, Leandro Cardoso Nerefuh, Lina Bo Bardi, Alencastro, Stefan Wharton, Alexander Krone, Nikos Doulos, Bart Witte, Nadia Tsulukidze, Stalin, Lieke Wouters, Thomas Hirschhorn, Born in Flames, Innercity, Fyoelk, The-High-Exalted-Never-Out-Dated-Grand Wizard Crem Fresh, Moemlien, Sapi & Cheworee Safari, Jamila Drott, BST Crew, Kristy Fenton, Rammellzee, Butcher's Tears, Paris is Burning, Anne Dersen, Margarita Osipian, Failed Architecture, Tim Verlaan, Mark Minkjan, Katharina Rohde, Roel Griffioen, ¥, and many others.]]</li><br />
<br />
<li style="display: inline-block; padding:0px">[[File:Piracy Project Birmingham GU-giving what-you-dont-have lowres.jpg.jpg|link=http://artwarez.org/projects/GWYDH/|thumb|none|400px|Interview: "Cornelia Sollfrank in conversation with Andrea Francke and Eva Weinmayr", Grand Union Birmingham, December 6, 2013. <br/> In the context of Cornelia Sollfrank's artistic research project "Giving What you don’t have", exploring the relationship between art and the commons, Postdigital Publishing Lab, Leuphana University, Lüneburg, 2013.<br/>→ [http://artwarez.org/projects/GWYDH/ Watch interview] <br/>→ [http://wiki.evaweinmayr.com/images/3/30/Piracy_Project_interview_Cornelia_Sollfranck_GWYDH.pdf Read the transcript].]]</li><br />
</ul></div><br />
<br />
=Workshops, Collective Research, Teaching with the Piracy Project= <br />
[[File:Piracy Project Byam Shaw School of Art Pirate Lab lowres.jpg|400px|left|thumb|link=| Workshop, "Pirate Lab", Byam Shaw School of Art, May–June, 2010.]]<br />
The Piracy Project explores questions of copying, reproducing, appropriating in a practical and hands-on way, whilst simultaneously reflecting on issues that emerge through this practice. As such, it has proven to be an useful and highly engaging teaching method. In the context of both higher education and art spaces and institutions, participants explored the legal and their own moral and ethical boundaries trying to negotiate the conflicts that might arise from this practice.<br />
<br clear=all><br />
<br />
[[File:Piracy Project Aarhus workshop 0123 lr.jpg|400px|left|thumb|link=https://www.facebook.com/MakingSocialRealitieswithBooks| Workshop at "Making Social Realities with Books" convened by Brett Bloom, Rum 46, Arhus. <br/> April, 15–19, 2013.]]<br />
<br />
<b>Making Social Realities with Books</b>, Brett Bloom (Temporary Services, Chicago) invited the Piracy Project to run a workshop in the series [https://www.facebook.com/MakingSocialRealitieswithBooks/" Making Social Realities with Books"], which he co-organized with [http://www.rum46.dk/ rum 46] in Copenhagen. The series of lectures and workshops explore the idea of how books – libraries, archives, publishing, and distribution – are used to create distinct social realities. Participants in this one-week workshop traveled from art academies in Denmark, Latvia, and Estonia to collectively think through the complexities of cultural piracy and appropriation. We explored strategies and ethics of unauthorized publishing, built on local facilities and knowledge, visited self-publishers, self-organized print shops, libraries, and bookshops in Aarhus.<br />
<br/> <br />
<br/> <br />
<br clear=all><br />
<br />
[[File:Piracy Project Leipzig Alternate Futures1.jpg|400px|left|thumb|link=|Workshop at "Alternate Futures" convened by Oliver Klimpel. Klasse für System Design, Hochschule für Gestaltung und Buchkunst, Leipzig, January 17–19, 2013.]]<br />
<b>Alternate Futures</b> Conceived and organized by Oliver Klimpel and Lina Grumm at the Leipzig Academy of Fine Arts, this course project takes as starting point in Victor Papanek's legacy of socially and ecologically responsible design to explore possible utopias in visual culture and fiction's potential to construct new worlds. A project on speculation, alternatives and the courage to imagine. From the course brief: "Curation from the Commas, Translative Authorship, Visual Re-Authorship, Experimental Authorship, Reductive Re-Authorship, Reductive Subtraction, Identity Subversion, Bootleg (Visual Re-Authorship), Concrete Transformation (Narrative Appropriation), Critical Theory (Denial of Image Clearance), etc. For example: changing the ending, translating, taking out, inserting, etc..."<br />
<br clear=all><br />
<br/><br />
<br />
<br />
<div style="width: 400px;"><br />
<div class="fadingimages"><br />
<slideshow sequence="forward" transition="fade" refresh="2500"><br />
<div>[[Image:Piracy Project Kunstverein Munich workshop announcement.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 18.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 17.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 19.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 16.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 20.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 21.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 22.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 23.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 25.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 24.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 27.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 29.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 33.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 32.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–Anna McCarthy, Tagar publication Page 34.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich Anna McCarthy, Tagar publication Page 35.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 37.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 38.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
<div>[[Image:Piracy Project Kunstverein Munich–publication Page 40.jpg|thumb|right|500px|Workshop "One Publishes to Find Comrades", The Piracy Project at Kunstverein Munich, <br/>November 4–28, 2014.]]</div><br />
</slideshow><br />
</div></div><br />
<b>One Publishes to Find Comrades</b>, a two-week workshop at Kunstverein Munich, focused on alternative and informal and counter-public archives, collections, libraries and bookshops, as well as independent print shops in Munich. For this research into local and informal knowledge infrastructures we invited '''Ingrid Scherf''', the co-founder of Munich's independent ''Basis'' bookshop and event space (closed in 2010) and co-editor of <i>Das Blatt</i>, West Germany's first alternative city magazine (1973–84) in order to give a voice to those who are not represented by mainstream media. '''Marcell Mars''' visited from his residency at Akademie Schloss Solitude in Stuttgart to speak about his project [https://schloss-post.com/public-library-a-fighting-concept/ Public Library], a collaboration with Tomislav Medak. '''Sarah Käsmayr''' introduced us to her ''Raubkopiebuch'', investigating book piracy in the context of 1960s and 70s German student movement. '''Stephan Dillemuth''' invited us to unpack his zine archive. '''Ruth Höflich''' introduced us to her critical publishing practice and gave a guided tour through her father's print workshop, Druckwerkstatt Höflich, in Munich. '''Anna McCarthy''' invited us for a conversation about her exhibition ''Nein'' and her and Tagar's independent publishing, performance and recording practice. We also visited '''Steffi Hammann''' at the Munich Art Academy, where, as a student and in collaboration with Maria von Mier, she set up a publishing house, [https://hammann-von-mier.com/ Hammann von Mier], that operates from within the art school classroom. Finally we visited the copy shop [http://www.unikopie-muenchen.de/ '''Unikopie'''], where – as the shop owners told us – the space is not only used for print production (making copies), but also for dissemination (leaving copies back in the shop for random people to pick up). [http://wiki.evaweinmayr.com/images/7/71/Piracy_Project_Kunstverein_Munich_One_publisheds_to_find_comrades%E2%80%93publication%E2%80%93lres.pdf '''Download zine produced during the workshop''']<br />
<br clear=all><br /><br />
<br /><br />
<br /><br />
<br /><br />
<br /><br />
<br />
<br/> <br/><br/><br />
<br />
=Edited Publications=<br />
<br />
<br />
[[File:Piracy Project Publication The-Piracy-Collection-Catalogue-as-of-2011.gif|400px|left|thumb|link=http://andpublishing.org/the-piracy-collection-as-of-25-11-2011/|<i>The Piracy Collection as of 25.11.2011</i>, <br/>21 × 15.4 cm, 90 pages, b&w, digital print, AND Publishing London, 2011]]<br />
<br />
<i>The Piracy Collection as of 25.11.2011</i>, printed in black and white with a blank library card slid into the front cover, contains the full catalog of the books in The Piracy Collection received by November 25, 2011. It represents a specific point in time, as the collection is constantly evolving. Alongside an introduction, the catalog contains cover images and short descriptions of each of the submitted book projects demonstrating many different strategies and approaches to un-authorized copying and piracy.<br />
<br/><br/><br />
<br clear=all><br />
<br />
[[File:Piracy Project Piracy Papers lowres.jpg|400px|left|thumb|link=http://andpublishing.org/category/we-publish|Piracy Paper#1: <i>Jackson Hole, Dear Grandpa</i> by Michael Eddy & Grandpa Eddy, London: AND Publishing, 2012 <br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle, London: AND Publishing, 2013 <br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil, London: AND Publishing, 2014]]<br />
<br />
<i>The Piracy Papers</i> is a series of aperiodically published pamphlets, that contain stories and essays that were previously published online.<br/><br/><br />
Piracy Paper #1: <i>Jackson Hole</i> by Michael Eddy & Grandpa Eddy. Michael Eddy's <i>Jackson Hole</i> is an email exchange between Michael (based in Bejing) and his grandfather (based near Jackson Hole, USA) about the re-creation of the eponymous American town on the outskirts of Beijing, China, and both writers' reflections on these two places that – although connected – are so different from each other.<br />
<br/><br />
<br/><br />
Piracy Paper #2: <i>The Author of Everything</i> by James Bridle. In this short story, James Bridle explores the possibilities and practices created by the employment of overseas workers in the digitization of English Classics into e-books. What are the systems that guarantee the truthful "transformation" of these texts?<br />
<br/><br/><br />
Piracy Paper #3: <i>The Junk Ships on Alibaba</i> by Joanne McNeil. In this short story, Joanne McNeil describes a series of encounters with different types of counterfeit cultures around the world and their interaction with digital technologies.<br />
<br/><br/><br />
<br clear=all><br />
{{Interlink|4_Summary_of_projects_and_submitted_material#Borrowing.2C_Poaching.2C_Plagiarising.2C_Pirating.2C_Stealing.2C_Gleaning.2C_Referencing.2C_Leaking.2C_Copying.2C_Imitating.2C_Adapting.2C_Faking.2C_Paraphrasing.2C_Quoting.2C_Reproducing.2C_Using.2C_Counterfeiting.2C_Repeating.2C_Cloning.2C_Translating.2C_co-edited_with_Andrea_Francke_.28book.29|see publication: Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating}}<br />
[[File:Piracy Project Reader–lowres.jpg|400px|left|thumb|link=http://andpublishing.org/borrowing-poaching-plagiarising-pirating-stealing-gleaning-referencing-leaking-copying-imitating-adapting-faking-paraphrasing-quoting-reproducing-using-counterfeiting-repeating-cloni-2/| <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr,<br/> 25 x 21 cm, 140 pages, digital print. Published, designed and produced by AND, London, 2014.]]<br />
<br />
<i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i> is an open-ended reader, which will develop over time as people buy shares in its chapters. The book explores the vocabulary that became relevant to the Piracy Project. In an attempt to acknowledge the paradoxical positions that the reductive legal-illegal binary produce, the book explores an alternative vocabulary of relationships to the work of others.<br />
<br />
At the time of writing, 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 />
Excerpt from the introduction to the book: "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." (...)<br />
<br />
<br clear=all><br />
<br/><br />
<br/><br />
<br />
=What Others Say=<br />
<br />
<div><ul><br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project SALT Ali Diker 0384 lowres.jpg|link=http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf|thumb|none|400px|Ali Diker researching for his article "Korsan Proje", in <i>Bloomberg Businessweek Turkiye</i>, April 1–7, 2012 (Turkish).<br/> [http://wiki.evaweinmayr.com/images/c/c3/Piracy_Project_Bloomberg_Businessweek-Ali_Diker-2012_Korsan_Proje.pdf →Download article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project Rhizome Orit Gat 2011 lowres.jpg|link=http://rhizome.org/editorial/2011/oct/25/piracy-project|thumb|none|400px|"The Piracy Project" by Orit Gat, <i>Rhizome</i>, October 25, 2011. <br/><br />
→[http://rhizome.org/editorial/2011/oct/25/piracy-project/ Read article].]]</li><br />
<br />
<li style="display: inline-block; padding:0px"> [[File:Piracy Project article pathologies of dissent art and education 2011.jpg|link=http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf|thumb|none|400px|<i>Pathologies of Dissent</i>, Sidney Hart and Noah Bremer, art and education, e-flux paper, 2012. <br/><br />
→[http://wiki.evaweinmayr.com/images/e/e4/Piracy_Project_Pathologies_of_dissent_art_and_education_Brehmer_Hart_2012.pdf Read article].]]</li><br />
<br />
</ul></div></div>Evahttp://wiki.evaweinmayr.com/index.php?title=ArtMonitor&diff=11609ArtMonitor2020-10-13T08:52:36Z<p>Eva: </p>
<hr />
<div><br />
<br/><br />
[[File:Logo ArtMonitor.png|150px|left]]<br/><br/><br />
Doctoral dissertations and licentiate theses published at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg:<br/><br/><br />
<br />
<br />
1. Monica Lindgren (Music Education)<br/><br />
Att skapa ordning för det estetiska i skolan. Diskursiva positioneringar i<br />
samtal med lärare och skolledare<br/><br />
ArtMonitor, diss. Göteborg, 2006<br/><br />
ISBN: 91-975911-1-4<br/><br />
<br/><br />
2. Jeoung-Ah Kim (Design)<br/><br />
Paper-Composite Porcelain. Characterisation of Material Properties and<br />
Workability from a Ceramic Art Design Perspective<br/><br />
ArtMonitor, diss. Göteborg, 2006<br/><br />
ISBN: 91-975911-2-2<br/><br />
<br/><br />
3. Kaja Tooming (Design)<br/><br />
Toward a Poetics of Fibre Art and Design. Aesthetic and Acoustic<br />
Qualities of Hand-tufted Materials in Interior Spatial Design<br/><br />
ArtMonitor, diss. Göteborg, 2007<br/><br />
ISBN: 978-91-975911-5-7<br/><br />
<br/><br />
4. Vidar Vikören (Musical Performance and Interpretation)<br/><br />
Studier omkring artikulasjon i tysk romantisk orgelmusikk, 1800–1850.<br />
Med et tillegg om registreringspraksis<br/><br />
ArtMonitor, diss. Göteborg, 2007<br/><br />
ISBN: 978-91-975911-6-4<br/><br />
<br/><br />
5. Maria Bania (Musical Performance and Interpretation)<br/><br />
“Sweetenings” and “Babylonish Gabble”: Flute Vibrato and Articulation of<br />
Fast Passages in the 18th and 19th centuries<br/><br />
ArtMonitor, diss. Göteborg, 2008<br/><br />
ISBN: 978-91-975911-7-1<br/><br />
<br/><br />
6. Svein Erik Tandberg (Musical Performance and Interpretation)<br/><br />
Imagination, Form, Movement and Sound – Studies in Musical<br />
Improvisation<br/><br />
ArtMonitor, diss. Göteborg, 2008<br/><br />
ISBN: 978-91-975911-8-8<br/><br />
<br/><br />
7. Mike Bode and Staffan Schmidt (Fine Arts)<br/><br />
Off the Grid<br/><br />
ArtMonitor, diss. Göteborg, 2008<br/><br />
ISBN: 978-91-977757-0-0<br/><br />
<br/><br />
8. Otto von Busch (Design)<br/><br />
Fashion-Able: Hacktivism and Engaged Fashion Design<br/><br />
ArtMonitor, diss. Göteborg, 2008<br/><br />
ISBN: 978-91-977757-2-4<br/><br />
<br/><br />
9. Magali Ljungar Chapelon (Digital Representation)<br/><br />
Actor-Spectator in a Virtual Reality Arts Play. Towards new artistic experiences in between illusion and reality in immersive virtual environments<br/><br />
ArtMonitor, diss. Göteborg, 2008<br/><br />
ISBN: 978-91-977757-1-7<br/><br />
<br/><br />
10. Marie-Helene Zimmerman Nilsson (Music Education)<br/><br />
Musiklärares val av undervisningsinnehåll. En studie om musikundervisning i ensemble och gehörs- och musiklära inom gymnasieskolan<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977757-5-5<br/><br />
<br/><br />
11. Bryndís Snæbjörnsdóttir (Fine Arts)<br/><br />
Spaces of Encounter: Art and Revision in Human-Animal Relations<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977757-6-2<br/><br />
<br/><br />
12. Anders Tykesson (Musical Performance and Interpretation)<br/><br />
Musik som handling: Verkanalys, interpretation och musikalisk gestaltning. Med ett studium av Anders Eliassons Quartetto d‘Archi<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977757-7-9<br/><br />
<br/><br />
13. Harald Stenström (Musical Performance and Interpretation)<br/><br />
Free Ensemble Improvisation<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977757-8-6<br/><br />
<br/><br />
14. Ragnhild Sandberg Jurström (Music Education)<br/><br />
Att ge form åt musikaliska gestaltningar. En socialsemiotisk studie av körledares multimodala kommunikation i kör<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977757-9-3<br/><br />
<br/><br />
15. David Crawford (Digital Representation)<br/><br />
Art and the Real-time Archive: Relocation, Remix, Response<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977758-1-6<br/><br />
<br/><br />
16. Kajsa G Eriksson (Design)<br/><br />
Concrete Fashion: Dress, Art, and Engagement in Public Space<br/><br />
ArtMonitor, diss. Göteborg, 2009<br/><br />
ISBN: 978-91-977758-4-7<br/><br />
<br/><br />
17. Henric Benesch (Design)<br/><br />
Kroppar under träd – en miljö för konstnärlig forskning<br/><br />
ArtMonitor, diss. Göteborg, 2010<br/><br />
ISBN: 978-91-977758-6-1<br/><br />
<br/><br />
18. Olle Zandén (Music Education)<br/><br />
Samtal om samspel. Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet<br/><br />
ArtMonitor, diss. Göteborg, 2010<br/><br />
ISBN: 978-91-977758-7-8<br/><br />
<br/><br />
19. Magnus Bärtås (Fine Arts)<br/><br />
You Told Me – work stories and video essays / verkberättelser och videoessäer<br/><br />
ArtMonitor, diss. Göteborg, 2010<br/><br />
ISBN: 978-91-977758-8-5<br/><br />
<br/><br />
20. Sven Kristersson (Musical Performance and Interpretation)<br/><br />
Sångaren på den tomma spelplatsen – en poetik. Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube<br/><br />
ArtMonitor, diss. Göteborg, 2010<br/><br />
ISBN: 978-91-977758-9-2<br/><br />
<br/><br />
21. Cecilia Wallerstedt (Research on Arts Education)<br/><br />
Att peka ut det osynliga i rörelse. En didaktisk studie av taktart i musik<br/><br />
ArtMonitor, diss. Göteborg, 2010<br/><br />
ISBN: 978-91-978477-0-4<br/><br />
<br/><br />
22. Cecilia Björck (Music Education)<br/><br />
Claiming Space: Discourses on Gender, Popular Music, and Social Change<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-1-1<br/><br />
<br/><br />
23. Andreas Gedin (Fine Arts)<br/><br />
Jag hör röster överallt – Step by Step<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-2-8<br/><br />
<br/><br />
24. Lars Wallsten (Photographic Representation)<br/><br />
Anteckningar om Spår<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-3-5<br/><br />
<br/><br />
25. Elisabeth Belgrano (Performance in Theatre and Drama)<br/><br />
“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes <br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-4-2<br/><br />
<br/><br />
26. Christian Wideberg (Research on Arts Education)<br/><br />
Ateljésamtalets utmaning – ett bildningsperspektiv<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-5-9<br/><br />
<br/><br />
27. Katharina Dahlbäck (Research on Arts Education)<br/><br />
Musik och språk i samverkan. En aktionsforskningsstudie i årskurs 1<br/><br />
ArtMonitor, licentiate thesis. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-6-6<br/><br />
<br/><br />
28. Katharina Wetter Edman (Design)<br/><br />
Service design – a conceptualization of an emerging practice<br/><br />
ArtMonitor, licentiate thesis. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-7-3<br/><br />
<br/><br />
29. Tina Carlsson (Fine Arts)<br/><br />
the sky is blue<br/><br />
Kning Disk, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-976667-2-5<br/><br />
<br/><br />
30. Per Anders Nilsson (Musical Performance and Interpretation)<br/><br />
A Field of Possibilities: Designing and Playing Digital Musical Instruments<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-977477-8-0<br/><br />
<br/><br />
31. Katarina A Karlsson (Musical Performance and Interpretation)<br/><br />
Think’st thou to seduce me then? Impersonating female personas in songs by Thomas Campion (1567-1620)<br/><br />
ArtMonitor, diss. Göteborg, 2011<br/><br />
ISBN: 978-91-978477-9-7<br/><br />
<br/><br />
32. Lena Dahlén (Performance in Theatre and Drama)<br/><br />
Jag går från läsning till gestaltning – beskrivningar ur en monologpraktik<br/><br />
Gidlunds förlag, diss. Göteborg, 2012<br/><br />
ISBN: 978-91-7844-840-1<br/><br />
<br/><br />
33. Martín Ávila (Design)<br/><br />
Devices. On Hospitality, Hostility and Design<br/><br />
ArtMonitor, diss. Göteborg, 2012<br/><br />
ISBN: 978-91-979993-0-4<br/><br />
<br/><br />
34. Anniqa Lagergren (Research on Arts Education)<br/><br />
Barns musikkomponerande i tradition och förändring<br/><br />
ArtMonitor, diss. Göteborg, 2012<br/><br />
ISBN: 978-91-979993-1-1<br/><br />
<br/><br />
35. Ulrika Wänström Lindh (Design)<br/><br />
Light Shapes Spaces: Experience of Distribution of Light and Visual Spatial Boundaries<br/><br />
ArtMonitor, diss. Göteborg, 2012<br/><br />
ISBN: 978-91-979993-2-8<br/><br />
<br/><br />
36. Sten Sandell (Musical Performance and Interpretation)<br/><br />
På insidan av tystnaden<br/><br />
ArtMonitor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-3-5<br/><br />
<br/><br />
37. Per Högberg (Musical Performance and Interpretation)<br/><br />
Orgelsång och psalmspel. Musikalisk gestaltning av församlingssång<br/><br />
ArtMonitor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-4-2<br/><br />
<br/><br />
38. Fredrik Nyberg (Literary Composition, Poetry and Prose)<br/><br />
Hur låter dikten? Att bli ved II<br/><br />
Autor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979948-2-8<br/><br />
<br/><br />
39. Marco Muñoz (Digital Representation)<br/><br />
Infrafaces: Essays on the Artistic Interaction<br/><br />
ArtMonitor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-5-9<br/><br />
<br/><br />
40. Kim Hedås (Musical Performance and Interpretation)<br/><br />
Linjer. Musikens rörelser – komposition i förändring<br/><br />
ArtMonitor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-6-6<br/><br />
<br/><br />
41. Annika Hellman (Research on Arts Education)<br/><br />
Intermezzon i medieundervisningen – gymnasieelevers visuella röster och subjektspositioneringar<br/><br />
ArtMonitor, licentiate thesis. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-8-0 (printed version)<br/><br />
ISBN: 978-91-981712-5-9 (digital version)<br/><br />
<br/><br />
42. Marcus Jahnke (Design)<br/><br />
Meaning in the Making. An Experimental Study on Conveying the Innovation Potential of Design Practice to Non-designerly Companies<br/><br />
ArtMonitor, diss. Göteborg, 2013<br/><br />
ISBN: 978-91-979993-7-3<br/><br />
<br/><br />
43. Anders Hultqvist (Musicology. Artistic track)<br/><br />
Komposition. Trädgården – som förgrenar sig. Några ingångar till en kompositorisk praktik<br />
Skrifter från musikvetenskap nr.102, diss. Göteborg 2013.<br/><br />
ISBN: 978-91-85974-19-1<br/><br />
Department of Cultural Sciences, Faculty of Arts, in cooperation with Academy of Music and Drama, Faculty of Fine, Applied and Performing Arts<br/><br />
<br/><br />
44. Ulf Friberg (Performance in Theatre and Drama)<br/><br />
Den kapitalistiska skådespelaren – aktör eller leverantör?<br/><br />
Bokförlaget Korpen, diss. Göteborg 2014<br/><br />
ISBN: 978-91-7374-813-1<br/><br />
<br/><br />
45. Katarina Wetter Edman (Design)<br/><br />
Design for Service: A framework for exploring designers’ contribution as interpreter of users’ experience<br/><br />
ArtMonitor, diss. Göteborg 2014<br/><br />
ISBN 978-91-979993-9-7<br/><br />
<br/><br />
46. Niclas Östlind (Photography)<br/><br />
Performing History. Fotografi i Sverige 1970-2014<br/><br />
ArtMonitor, diss. Göteborg 2014<br/><br />
ISBN: 978-91-981712-0-4<br/><br />
<br/><br />
47. Carina Borgström Källén (Research on Arts Education)<br/><br />
När musik gör skillnad – genus och genrepraktiker i samspel<br/><br />
ArtMonitor, diss. Göteborg 2014<br/><br />
ISBN: 978-91-981712-1-1 (printed version)<br/><br />
ISBN: 978-91-981712-2-8 (digital version)<br/><br />
<br/><br />
48. Tina Kullenberg (Research on Arts Education)<br/><br />
Signing and Singing – Children in Teaching Dialogues<br/><br />
ArtMonitor, diss. Göteborg 2014<br/><br />
ISBN: 978-91-981712-3-5 (printed version)<br/><br />
ISBN: 978-91-981712-4-2 (digital version)<br/><br />
<br/><br />
49. Helga Krook (Literary Composition, Poetry and Prose)<br/><br />
Minnesrörelser<br/><br />
Autor, diss. Göteborg 2015<br/><br />
ISBN 978-91-979948-7-3<br/><br />
<br/><br />
50. Mara Lee Gerdén (Literary Composition, Poetry and Prose)<br/><br />
När andra skriver: skrivande som motstånd, ansvar och tid<br/><br />
Glänta produktion, diss. Göteborg 2014<br/><br />
ISBN: 978-91-86133-58-0<br/><br />
<br/><br />
51. João Segurado (Musical Performance and Interpretation, in cooperation with Luleå University of Technology)<br/><br />
Never Heard Before – A Musical Exploration of Organ Voicing<br/><br />
ArtMonitor, diss. Göteborg/Luleå 2015<br/><br />
ISBN: 978-91-981712-6-6 (printed version)<br/><br />
ISBN: 978-91-981712-7-3 (digital version)<br/><br />
<br/><br />
52. Marie-Louise Hansson Stenhammar (Research on Arts Education)<br/><br />
En avestetiserad skol- och lärandekultur. En studie om lärprocessers estetiska dimensioner<br/><br />
ArtMonitor, diss. Göteborg 2015<br/><br />
ISBN: 978-91-981712-8-0 (printed version)<br/><br />
ISBN: 978-91-981712-9-7 (digital version)<br/><br />
<br/><br />
53. Lisa Tan (Fine Arts)<br/><br />
For every word has its own shadow<br/><br />
ArtMonitor, diss. Göteborg 2015<br/><br />
ISBN 978-91-982422-0-1 (printed version)<br/><br />
ISBN 978-91-982422-1-8 (digital version)<br/><br />
<br/><br />
54. Elke Marhöfer (Fine Arts)<br/><br />
Ecologies of Practices and Thinking<br/><br />
ArtMonitor, diss. Göteborg 2015<br/><br />
ISBN 978-91-982422-2-5 (printed version)<br/><br />
ISBN 978-91-982422-3-2 (digital version)<br/><br />
<br/><br />
55. Birgitta Nordström (Crafts)<br/><br />
I ritens rum – om mötet mellan tyg och människa<br/><br />
ArtMonitor, licentiate thesis. Göteborg 2016<br/><br />
ISBN: 978-91-982422-4-9 (printed version)<br/><br />
ISBN 978-91-982422-5-6 (digital version)<br/><br />
<br/><br />
56. Thomas Laurien (Design)<br/><br />
Händelser på ytan – shibori som kunskapande rörelse<br/><br />
ArtMonitor, diss. Göteborg 2016<br/><br />
ISBN: 978-91-982422-8-7 (printed version)<br/><br />
ISBN 978-91-982422-9-4 (digital version)<br/><br />
<br/><br />
57. Annica Karlsson Rixon (Photography)<br/><br />
Queer Community through Photographic Acts. Three Entrances to an Artistic Research Project Approaching LGBTQIA Russia<br/><br />
Art and Theory Publishing, diss. Stockholm 2016<br/><br />
ISBN: 978-91-88031-03-7 (printed version) <br/><br />
ISBN: 978-91-88031-30-3 (digital version)<br/><br />
<br/><br />
58. Johan Petri (Performance in Theatre and Music Drama)<br/><br />
The Rhythm of Thinking. Immanence and Ethics in Theater Performance<br/><br />
ArtMonitor, diss. Göteborg 2016<br/><br />
ISBN: 978-91-982423-0-0 (printed version)<br/><br />
ISBN: 978-91-982423-1-7 (digital version)<br/><br />
<br/><br />
59. Cecilia Grönberg (Photography)<br/><br />
Händelsehorisont || Event horizon. Distribuerad fotografi<br/><br />
OEI editör, diss. Stockholm 2016<br/><br />
ISBN: 978-91-85905-85-0 (printed version)<br/><br />
ISBN: 978-91-85905-86-7 (digital version)<br/><br />
<br/><br />
60. Andrew Whitcomb (Design)<br/><br />
(re)Forming Accounts of Ethics in Design: Anecdote as a Way to Express the Experience of Designing Together<br/><br />
ArtMonitor, diss. Göteborg 2016<br/><br />
ISBN: 978-91-982423-2-4 (printed version)<br/><br />
ISBN: 978-91-982423-3-1 (digital version)<br/><br />
<br/><br />
61. Märtha Pastorek Gripson (Research on Arts Education)<br/><br />
Positioner i dans – om genus, handlingsutrymme och dansrörelser i grundskolans praktik<br/><br />
ArtMonitor, diss. Göteborg 2016<br/><br />
ISBN 978-91-982422-6-3 (printed version)<br/><br />
ISBN 978-91-982422-7-0 (digital version)<br/><br />
<br/><br />
62. Mårten Medbo (Crafts)<br/><br />
Lerbaserad erfarenhet och språklighet<br/><br />
ArtMonitor, diss. Göteborg 2016<br/><br />
ISBN: 978-91-982423-4-8 (printed version)<br/><br />
ISBN: 978-91-982423-5-5 (digital version)<br/><br />
<br/><br />
63. Ariana Amacker (Design)<br/><br />
Embodying Openness: A Pragmatist Exploration into the Aesthetic Experience of Design Form-Giving<br/><br />
ArtMonitor, diss. Göteborg 2017<br/><br />
ISBN: 978-91-982423-6-2 (printed version)<br/><br />
ISBN: 978-91-982423-7-9 (digital version)<br/><br />
<br/><br />
64. Lena O Magnusson (Research on Arts Education)<br/><br />
Treåringar, kameror och förskola – en serie diffraktiva rörelser<br/><br />
ArtMonitor, diss. Göteborg 2017<br/><br />
ISBN: 978-91-982423-8-6 (printed version)<br/><br />
ISBN: 978-91-982423-9-3 (digital version)<br/><br />
<br/><br />
65. Arne Kjell Vikhagen (Digital Representation)<br/><br />
When Art Is Put Into Play. A Practice-based Research Project on Game Art<br/><br />
ArtMonitor, diss. Göteborg 2017<br/><br />
ISBN: 978-91-982421-5-7 (printed version)<br/><br />
ISBN: 978-91-982421-6-4 (digital version)<br/><br />
<br/><br />
66. Helena Kraff (Design)<br/><br />
Exploring pitfalls of participation and ways towards just practices through a participatory design process in Kisumu, Kenya<br/><br />
ArtMonitor, diss. Göteborg 2018<br/><br />
ISBN: 978-91-982421-7-1 (printed version)<br/><br />
ISBN: 978-91-982421-8-8 (digital version)<br/><br />
<br/><br />
67. Hanna Nordenhök (Literary Composition, Poetry and Prose)<br/><br />
Det svarta blocket I världen. Läsningar, samtal, transkript<br/><br />
Rámus., diss. Göteborg 2018<br/><br />
ISBN 978-91-86703-85-1 (printed version) <br/><br />
ISBN 978-91-86703-87-5 (digital version)<br/><br />
<br/><br />
68. David N.E. McCallum (Digital Representation)<br/><br />
Glitching the Fabric: Strategies of New Media Art Applied to the Codes of Knitting and Weaving<br/><br />
ArtMonitor, diss. Göteborg 2018<br/><br />
ISBN: 978-91-7833-139-0 (printed version)<br/><br />
ISBN: 978-91-7833-140-6 (digital version)<br/><br />
<br/><br />
69. Åsa Stjerna (Musical Performance and Interpretation)<br/><br />
Before Sound: Transversal Processes in Site-Specific Sonic Practice<br/><br />
ArtMonitor, diss. Göteborg, 2018<br/><br />
ISBN: 978-91-7833-213-7 (printed version)<br/><br />
ISBN: 978-91-7833-214-4 (digital version)<br/><br />
<br/><br />
70. Frida Hållander (Crafts)<br/><br />
Vems hand är det som gör? En systertext om konst/hantverk, klass, feminism och om viljan att ta strid<br/><br />
ArtMonitor/Konstfack Collection, diss. Stockholm, 2019<br/><br />
978-91-85549-40-5 (printed version)<br/><br />
978-91-85549-41-2 (digital version)<br/><br />
HDK – Academy of Design and Crafts, University of Gothenburg, in cooperation with Konstfack, University of Arts, Crafts and Design, Stockholm<br/><br />
<br/><br />
71. Thomas Nyström (Design)<br/><br />
Adaptive Design for Circular Business Models in the Automotive Manufacturing Industry<br/><br />
ArtMonitor, licentiate thesis. Göteborg, 2019<br/><br />
ISBN: 978-91-985171-2-5 (printed version)<br/><br />
ISBN: 978-91-985171-3-2 (digital version)<br/><br />
<br/><br />
72. Marina Cyrino (Musical Performance and Interpretation)<br/><br />
An Inexplicable Hunger – flutist)body(flute (dis)encounters<br/><br />
ArtMonitor, diss. Göteborg, 2019<br/><br />
ISBN: 978-91-7833-382-0 (printed version)<br/><br />
ISBN: 978-91-7833-383-7 (digital version)<br/><br />
<br/><br />
73. Imri Sandström (Literary Composition, Poetry and Prose)<br/><br />
Tvärsöver otysta tider: Att skriva genom Västerbottens och New Englands historier och språk tillsammans med texter av Susan Howe / Across Unquiet Times: Writing Through the Histories and Languages of Västerbotten and New England in the Company of Works by Susan Howe<br/><br />
Autor, diss. Göteborg, 2019<br/><br />
ISBN: 978-91-984037-3-2 (printed version)<br/><br />
ISBN: 978-91-984037-4-9 (digital version)<br/><br />
<br/><br />
74. Patrik Eriksson (Independent Filmmaking)<br/><br />
Melankoliska fragment: om essäfilm och tänkande<br/><br />
ArtMonitor, diss. Göteborg, 2019<br/><br />
ISBN: 978-91-7833-566-4 (printed version)<br/><br />
ISBN: 978-91-7833-567-1 (digital version)<br/><br />
<br/><br />
75. Nicolas Cheng (Crafts)<br/><br />
World Wide Workshop: The Craft of Noticing<br/><br />
ArtMonitor, diss. Göteborg, 2019<br/><br />
ISBN: 978-91-7833-610-4 (printed version)<br/><br />
ISBN: 978-91-7833-611-1 (digital version)<br/><br />
<br/><br />
76. Magdalena Mayas (Musical Performance and Interpretation)<br/><br />
Orchestrating timbre – Unfolding processes of timbre and memory in improvisational piano performance<br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
ISBN: 978-91-7833-722-4 (printed version)<br/><br />
ISBN: 978-91-7833-723-1 (digital version)<br/><br />
<br/><br />
77. Ingrid Hedin Wahlberg (Music Education)<br/><br />
Att göra plats för traditioner. Antagonism och kunskapsproduktion inom folk- och världsmusik<br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
ISBN: 978-91-7833-830-6 (printed version)<br/><br />
ISBN: 978-91-7833-831-3 (digital version)<br/><br />
<br/><br />
78. Cecilia Jeppsson (Research on Arts Education)<br/><br />
“Rörlig och stabil, bred och spetsig”. Kulturell reproduktion och strategier för breddat deltagande i den svenska kulturskolan<br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
ISBN: 978-91-7833-832-0 (printed version)<br/><br />
ISBN: 978-91-7833-833-7 (digital version)<br/><br />
<br/><br />
79. Annelies Vaneycken (Design)<br/><br />
Designing ‘for’ and ‘with’ ambiguity: actualising democratic processes in participatory design practices with children <br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
ISBN: 978-91-7833-858-0 (printed version)<br/><br />
ISBN: 978-91-7833-859-7 (digital version)<br/><br />
<br/><br />
80. Niklas Rudbäck (Research on Arts Education)<br/><br />
Circumscribing Tonality: Upper Secondary Music Students Learning the Circle of Fifths <br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
ISBN: 978-91-8009-028-5 (printed version)<br/><br />
ISBN: 978-91-8009-029-2 (digital version)<br/><br />
<br/><br />
81. Eva Weinmayr (Artistic Practice)<br/><br />
Noun to Verb: an investigation into the micro-politics of publishing through artistic practice<br/><br />
ArtMonitor, diss. Göteborg, 2020<br/><br />
Thesis: https://cutt.ly/noun-to-verb<br/><br />
Open Acces Repository: http://hdl.handle.net/2077/66644<br/><br />
No ISBN <br/><br />
<br/><br/></div>Evahttp://wiki.evaweinmayr.com/index.php?title=Svensk_sammanfattning&diff=11608Svensk sammanfattning2020-10-13T08:50:14Z<p>Eva: /* Svensk Sammanfattning */</p>
<hr />
<div>=Svensk Abstract=<br />
<br />
<b>Titel</b>: Substantiv till verb: en undersökning av publiceringens mikropolitik genom konstnärlig praktik<br/><br />
<b>Språk</b>: Engelska med svensk sammanfattning<br/><br />
<b>Nyckelord</b>: publicering, konstnärlig praktik, politisk fantasi, policy, kritisk pedagogik, kollektivitet, intersektionell feminism, författarskap<br/><br />
<br />
<br />
<br />
Denna praktikbaserade undersökning utforskar publiceringens sociala och politiska agent ur ett intersektionellt feministiskt perspektiv genom att undersöka mikropolitiken för att skapa och dela kunskaper. Oavsett om det är ”bundet” eller ”obundet” har det förts mycket diskussion om bokens politiska agent som medium, men det antas ofta att bokens politiska potential endast sträcker sig så långt som dess ”innehåll”. Fokus för denna undersökning är dock de potentiellt radikala, politiska och emancipatoriska tillvägagångssätten och processerna genom vilka en publikation produceras (författas, redigeras, trycks, binds), sprids (cirkuleras, beskrivs, katalogiseras) och läses (används).<br />
<br />
De fem projekten som ligger till grund för detta bidrag har utvecklats i samarbete med olika konstellationer av aktörer i Storbritannien och Sverige och består av: AND Publishing (2010–pågående), The Library of Omissions and Inclusions (2016–2018), The Piracy Project (2010–2015), Let’s Mobilize: What is Feminist Pedagogy? (2015–2016) och Boxing and Unboxing (2018). Dessa fem projekt utforskar intersektionella feministiska publiceringsstrategier och ställer frågorna: Vad händer om vi förstod publicering inte som ett begränsat objekt? Vad händer om vi uppmärksammar och värdesätter de processer och praktiker som leder fram till en publikation? Hur kan kollektiva publiceringsprocesser själva vara en taktik för att praktiskt intervenera i, lösa upp och förändra befintlig kunskapspraktik?<br />
<br />
Denna undersökning lokaliserar sig i skärningspunkten mellan samtidskonst, radikal utbildning och institutionell analys och undersöker kritiskt antagandet att publicering är en helt och hållet positiv och progressiv handling, ett verktyg för att ge röst åt och utveckla en emancipatorisk agent. Den identifierar paradoxerna, konflikterna och motsättningarna för kollektiv kunskapspraktik föranledd av system för validering och revisionskultur, av det ”bestämbara” objektets stagnation och av den auktoritet som dessa separata objekt producerar. Forskningen sträcker sig bortom dessa punkter genom att utforska tvingande inbördes ömsesidighet mellan författarskap, auktorisation och auktoritet.<br />
<br />
Det centrala syftet för denna undersökning är att utvidga och pröva de normativa kriterierna för vad som utgör en publikation. En av frågorna som uppstod var om publicering kan ses som ett verb (en process) snarare än ett substantiv (d.v.s. det färdiga objektet). Kan praktik själv förstås som en form av publicering? En undervisningssituation, till exempel – en workshop, ett seminarium eller en gruppdialog, där kunskap skapas gemensamt och delas samtidigt – kan denna också betraktas som publicering? Vilken sorts publiker är nödvändiga eller relevanta för en publiceringsprocess? Ett samarbete, ett kollektiv, en scen, en process, en dynamik, en metod – kan vi avgränsa någon sådan situation eller process som ”publicering”? Hur fixerad eller stabil behöver en kunskapsöverföring vara för att kunna kallas en ”publikation”? Och vilken är funktionen och effekten av en sådan stabilitet?<br />
<br />
Eftersom kommunikationen för forskningsresultaten (i form av en doktorsavhandling) i sig utgör en form av publikation experimenterade jag med ett öppet och dialogiskt publiceringssätt i form av en MediaWiki – redan från dess början utvecklad ”offentligt”. Därigenom förvandlas avhandlingen från att utgöra en auktoritativ text till en webbplats för flera röster, där det uppkommer situationer med förhandling, motsättning och konsultation.<br />
<br />
<br/><br />
<br/><br />
<br />
=Svensk Sammanfattning=<br />
<br />
Denna sammanfattning ger en översikt över ett forskningsprojekt med titeln Substantiv till verb: om taktiker, konflikter och mikropolitik inom publicering – en intersektionell undersökning genom konstnärlig praktik. Projektet utforskar publiceringens sociala och politiska agent, undersöker mikropolitiken för att skapa, artikulera och dela kunskaper ur ett intersektionellt feministiskt perspektiv. Det centrala syftet med denna undersökning är att utvidga och pröva de normativa kriterierna för vad som utgör en publikation. Dessutom utgick jag från ett antal frågeställningar om bokens politiska och emanciperande karaktär, en aspekt som ofta uppfattas som begränsad till dess politiskt präglade innehåll. Fokus för denna undersökning är dock de potentiellt radikala, politiska och emanciperande tillvägagångssätten och processerna genom vilka en publikation produceras (författas, redigeras, trycks, binds), sprids (cirkuleras, beskrivs, katalogiseras) och läses (används). I praktiska termer omfattar forskningsprocessen (i) en rad aktiviteter (konstskapande, workshoppar, publicering, redaktionellt arbete, samarbetspraktiker, konferenser, organisering, pedagogiska interventioner, diskursiva evenemang etc.) och (ii) ett intervall av ”stabiliseringar” (publikationer, kapitel, uppsatser, affischer, mindre tryckalster, arkiv, läsrum, utställningar etc.). Både (i) och (ii) utvecklas i samarbeten.<br />
<br />
Publicering kan förstås som ett sätt att dela, blottlägga, föra vidare eller som en ”offentliggörande” handling som inkluderar texter, bilder, idéer och vad vi kortfattat kan kalla ”kunskaper”. Publicering kan också förstås som en tillfällig stabilisering av kunskap, som fixerar offentliggörandet i en materiell och mobil form (papper, bläck, skärm, kod) – fixerar det i ett objekt. Som ett objekt, fristående från tillverkarna (person), moment (tid) och ekologierna (kontext) för dess produktion, kan en publikation cirkulera och spridas över regioner, sammanhang och epoker – med Florian Cramers (2012) ord: ”bokens idé är att den kan läsas om ett, fem och etthundra år”. Den utvecklar ett eget socialt och intellektuellt liv.<br />
<br />
Samtidigt som publicering kan göra det möjligt för en enda att tala till massan – och som sådan betraktas som en adresseringsmetod som konstruerar dominansmönster – kan publiceringshandlingen också ses som ett verktyg för att ge röst och erkännande åt kroppar och erfarenheter som ännu inte är erkända, formulerade eller prioriterade inom ramen för befintliga kunskaper. Därför kan publicering ses som en process som bjuder in både bifall och motsättningar, och som producerar motstridiga åsikter och alternativa tolkningar, något som har gett bränsle åt många debatter om ”det offentliga rummet”. Sådana teman har diskuterats allmänt i förhållande till uppkomsten av den europeiska tryckerikulturen (Eisenstein, 1982; Johns, 1998), men dessa debatter är inte huvudfokus här. I stället behandlar den aktuella forskningen specifikt mikropolitiken för publiceringspraktiker i skärningspunkten mellan samtidskonst, radikal utbildning och institutionell analys.<br />
<br />
Publiceringspraktiker förstås som en del av en bredare mångfald av metoder och format som fungerar som ”stabilisering” av kunskaper, som angetts ovan. Jag använder ordet ”kunskaper” i plural för att problematisera idén om singulär, okroppslig och universell kunskap, som är förknippad med moderna västerländska epistemologier.[5] Kunskaper i denna undersökning förstås i Donna Haraways betydelse, som ”styrda av partisk syn och begränsad röst – inte partiskhet för sin egen skull utan, snarare, för de kopplingar och oväntade öppningar som situerade kunskaper möjliggör.” (Haraway 1988, 590). Kunskaper är därför, enligt min mening, i grunden villkorliga och interaktiva. ”Situerade kunskaper handlar om samhällen, inte om isolerade individer”. (Haraway 1988, 590). I denna undersökning förstås kunskap som en grundläggande relationell handling, vilket exemplifieras av Maria Lugones begrepp ”streetwalker theorizing.” (Lugones, 2003).<br />
<br />
Naturligtvis sträcker sig publiceringspraktiker långt utöver den tryckta sidan. Ett central syfte med denna undersökning är att utvidga och pröva de normativa kriterierna för vad som utgör en publikation. En fråga som uppstod var om publicering kan ses som ett verb, en process, snarare än ett substantiv (d.v.s. det färdiga objektet). Skulle praktik själv kunna förstås som en form av publicering? En undervisningssituation, till exempel – en workshop, ett seminarium eller en gruppdialog, där kunskap skapas gemensamt och delas samtidigt – skulle detta också kunna betraktas som publicering? Vilken sorts publiker är nödvändiga eller relevanta för en publiceringsprocess? Ett samarbete, ett kollektiv, en scen, en process, en dynamik, en metod – kan vi avgränsa någon sådan situation eller process som ”publicering”? Hur fixerad eller stabil behöver en kunskapsöverföring vara för att kunna kallas en ”publikation”? Och vad är funktionen och effekten av en sådan stabilitet?<br />
<br />
Nätverkande digitala medieteknologier ersätter enligt Mangen (2012) ”beständigheten och den statiska (och, underförstått, begränsande) hos det trycktas linjäritet genom att addera multimediafunktioner, interaktivitet, hyperstruktur och praktiskt taget obegränsade möjligheter för icke-verbal, interaktiv läsning och kommunikation för läsaren.” Det är den ”obundna” karaktären hos det digitala som bringar ”konceptuella system baserade på idéer om centrum, marginal, hierarki” ur balans. (Landow 1992, 2). Och Gary Hall (2016, 158) hävdar att det obundna är ett ögonblick av rekapitulation som ”ger oss en chans att ta upp den sortens frågor om våra idéer om boken (men också om det enhetliga, suveräna, proprietära ämnet; den individualiserade författaren, signaturen, rättighetsnamnet; originalitet, beständighet, det färdiga objektet; kanonen, disciplinen, tradition, immateriella rättigheter; allmänheten, gemenskapen och så vidare), som borde vi ha ställt hela tiden.”<br />
<br />
Oavsett om det är ”bundet” eller ”obundet” har det först mycket diskussion om bokens politiska agent, och det antas ofta att bokens politiska potential endast sträcker sig så långt som dess ”innehåll”. Ändå är det intressanta i den aktuella undersökning bokens kapacitet som ett konceptuellt och materiellt medel för att praktiskt intervenera i, lösa upp och förändra befintliga system för produktion, distribution och kunskapskonsumtion. (Adema och Hall, 2014; Thoburn, 2014; Constant, pågående).<br />
<br />
==Frågeställningarna==<br />
<br />
Med utgångspunkt i Gabriel Tardes påstående att kunskap är en form av socialisering och social kommunikation (1903) började jag undersöka publicering som en social, pedagogisk och politisk process. Hur kan publicering skapa rum för bättre ömsesidig förståelse och omprövning av mellanmänskliga relationer? Vad är förhållandet mellan att ”göra” och ”offentliggöra”? Mellan erfarenhet och artikulation? Hur formar ”det yttre rummet” (distribution) ”det inre rummet” för publicering (innehåll) och vice versa? Vad är kontextuell publicering? Är publicering nödvändigtvis alltid knuten till ett dokument, oavsett om det är den tryckta sidan eller via andra medier, såsom film, teckning eller fotografi? Vad är ett dokument? I sin studie Qu'est-ce que la documentation? (1951) beskriver Suzanne Briet, den franska bibliotekarien och pionjären inom informationsvetenskapen, följande: en antilop som löper vild på savannen betraktas som ett djur, men genom att fångas och föras till Europa för att visas upp i djurparken – genom att buras in, beskrivas, mätas och klassificeras – förvandlas djuret ändå till ett dokument.[19] Det analyseras, beskrivs, kategoriseras, klassificeras och visas upp som ett exemplar, en process som utgör ett nyckelparadigm för den koloniala modernitetens projekt.<br />
<br />
Forskningsprocessen (skapande, tänkande och analyserande) utmanade det ursprungliga antagandet att publicering är en helt och hållet positiv och progressiv handling, ett verktyg för att ge röst åt och utveckla en emanciperad agent. Under forskningens gång ifrågasattes denna idé och gjorde det nödvändigt att ompröva undersökningens drivande antaganden. Den institutionella påtryckningen (publicera eller gå under) kan till exempel försämra förutsättningarna för praktiker baserade på agent, kreativitet, kritik, experiment och kollektivt kunskapsskapande. Att publicera (och skriva) i institutionella eller semiinstitutionella sammanhang har enligt mångas åsikt ”reducerats från en process för kommunikation, upptäckt och utforskning till ett system för att samla fler och fler nya produkter, endast baserat på en beräkningslogik.” Rebekka Kiesewetter (2019) konstaterar att ”en publikations betydelse ofta reduceras till en förbrukningsvara eller ett kompetensbevis och ett auktoritetsanspråk; och publiceringsaktiviteter bedrivs mestadels inom en produktionsstyrd miljö, där de föreslagna formaten och de institutionella, ekonomiska och procedurmässiga ramarna förleder tolkningen av varje resultat, varje representation, som behållare för innehåll, statiska, bakåtblickande, absoluta, slutförda och fastställda.” Flera poänger tas upp här: för det första pekar det på valideringssystem och revisionskultur; för det andra, på det ”bestämbara” objektets stagnation; och för det tredje, på auktoriteten som dessa separata objekt producerar.<br />
<br />
Avhandlingen hävdar att dessa tre ämnen utgör de viktigaste ”blockeringarna” för emanciperade, kollektiva kunskapspraktiker. Jag brottades med dessa blockeringar praktiskt och teoretiskt under hela denna undersökning, varje gång med olika ingångar och ur olika perspektiv. Vartefter undersökningen utvecklades blev det tydligare att jag var ute efter att undersöka den tvingande ömsesidigheten mellan författarskap, auktorisation och auktoritet. Med tvingande ömsesidighet menar jag hur dessa tre begrepp är sammanflätade och hur de framkallar, behöver och kräver varandra. För att erkännas som författare krävs någon form av auktorisation, vilket i sin tur skapar auktoritet. Det tar upp frågan om vad som valideras som publicering, vem som erkänns som författare, av vem och av vilken anledning.<br />
<br />
Denna undersökning är lokaliserad i en västerländsk kontext och tar hänsyn till så övergripande konstruktioner som kolonial modernitet, possessiv individualism och det nyliberala subjektet. I egenskap av kvinnligt subjekt med vit europeisk bakgrund rör jag mig mellan praktiker, institutioner och diskurser främst inom Europa och Nordamerika. Det är från denna position som jag undersöker mikropolitiken för kunskapspraktiker, präglad av begrepp från feministisk teori, medieteori, radikal pedagogik samt samhällsvetenskap och filosofi.<br />
<br />
<br />
==Projekten: mindre substantiv – mer verb==<br />
<br />
<i>Library of Inclusions and Omissions</i> (2016) är ett praktikbaserat experiment i kritisk kunskapsinfrastruktur. Projektet inrättar ett gemenskapsdrivet läsrum kring intersektionellt feministiska och avkoloniala material och utforskar bibliotekens politik (potentialer och begränsningar), online och fysiskt, för att få tillgång till, aktivera och sprida kunskap. Projektet definierar biblioteket som kunskapsinfrastruktur (Mattern, 2014) och prövar dominerande policyer för validering (tillgång) och klassificering (organisation). Dessutom undersöker projektet skillnaden mellan en gemenskapsdriven resurs som denna och mer institutionella bibliotek när det gäller deras urvals- och valideringsprocesser. Med Library of Inclusions and Omissions försöker jag utveckla ett kuratoriellt koncept för att ge röst åt dolda, undertryckta eller icke-erkända material och kamper. På vilka sätt skulle en sådan kuratoriell strategi därmed kunna förvandla biblioteket från ett kunskapsförvar (Samek, 2003; Springer, 2015) till ett rum för social och intellektuell sammankomst och aktion? Kan ett sådant biblioteksprojekt bidra till att bygga en gemenskap eller koppla samman olika grupper?<br />
<br />
<br />
<i>The Piracy Project</i> (2010–2015), baserat i London, är ett långsiktigt samarbete med den peruanska konstnären Andrea Francke. Det utforskar dominerande förståelser av författarskap, originalitet och innebörderna av immateriella rättigheter och upphovsrättspolicyer för kunskapspraktiker. Genom ett öppet anbudsförfarande efter piratkopierade böcker och vår utforskning av piratbokmarknader i Peru, Kina och Turkiet samlade The Piracy Project in cirka 150 kopierade, imiterade, approprierade och modifierade böcker från hela världen. Deras kopieringsmetoder varierade i hög grad, från lekfulla strategier för reproduktion, modifiering och omtolkning av befintliga verk, till sätt att kringgå hinder såsom censur eller marknadsmonopol, och till piratkopiering som genereras av kommersiella intressen. Genom tillfälliga läsrum, workshoppar, föreläsningar, diskussioner och debatter utforskar The Piracy Project de filosofiska, juridiska och sociala innebörderna av kulturell piratkopiering. I detta projekt undersöker Andrea och jag hur de piratkopierade, modifierade, imiterade böckerna i samlingen överträffar normativa begrepp om auktorisation och utmanar idén om individuellt författarskap och den tryckta bokens förmodade auktoritet. I teoretiseringen av detta projekt visar jag hur projektets icke-auktoriserade interventioner i ”stabil” och officiell kunskap blottlägger och löser upp ömsesidigheten mellan författarskap, originalitet och immateriella rättigheter – en triangulering som, vilket jag visade, utgör en av de viktigaste blockeringarna för kollektiva kunskapspraktiker.<br />
<br />
<br />
<i>Let’s Mobilize: What is Feminist Pedagogy?</i> (2015–2016) är en kollektiv undersökning av intersektionella feministiska pedagogiker, som ledde till (i) anordnandet av en internationell mobilisering under tre dagar vid HDK-Valand Högskolan för konst och design (vid den tiden Konstakademin Valand), Göteborgs universitet[17], och (ii) publiceringen av en arbetsbok med samma titel. Det tog sin början med en arbetsgrupp som bildades vid Akademin Valand bestående av studenter, personal och administratörer (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr). Gruppen hade två mål. För det första att skapa rum för att diskutera toppar och dalar i vårt eget lärande och vår egen undervisning samt att studera och granska universitetspolicyer och institutionella vanor. För det andra att organisera en internationell konferens (mobilisering) för att grundligt ompröva hur kunskap produceras, överförs och sprids. Vi var angelägna om att hitta strategier för att adressera den eurocentriska kanonen och dess exkluderingar, ifrågasätta institutionella vanor och förfaranden samt att skapa en förståelse av jämlikhet som inte är blind för skillnad. Själva mobiliseringen var en praktikbaserad undersökning som experimenterade med icke-normativa användningar av klassrummet och fäste uppmärksamhet på tid och temporaliteter, språk och den empiriska kroppen. Den publicerade arbetsboken förstås som en ”input” snarare än en ”output”. Den syftar till en omdefiniering av den dominerande förståelsen av ”inverkan” inom nuvarande system för akademisk utvärdering – en förståelse som ofta baseras på en reduktiv beräkningslogik. Projektet framför en omprövning av den inrättade värdetaxonomin inom lärande, undervisning och forskning vid konstakademin. Den ställer frågan vad som skulle hända om vi värdesatte och gav formellt erkännande till alla kunskaper och processer som är involverade i hur vi publicerar. Projektet frågar också hur öppen, möjliggörande och mångsidig vår kunskapspraktik är; och hur inkluderande är våra verktyg och protokoll? Detta sker genom att praktiskt undersöka skedena, formaten och temporaliteterna för hur konstakademin ”utövar” kunskap. Mer allmänt granskar detta experiment hur institutionella vanor – hur vi träffas, terminologierna vi använder, upphandlingsförfarandena vi uppmanas att följa, formerna av förväntade ”resultat” – möjliggör eller hindrar kollektiva och inkluderande kritiska kunskapspraktiker.<br />
<br />
<br />
<i>Boxing and Unboxing</i>, ett samarbete med konstnären Rosalie Schweiker, ägde rum under AND Publishings halvårslånga forskningsresidens vid Marabouparken konsthall i Stockholm. Det bestod av att lära sig att ”box” och ”unbox”, och att klippa upp boxar – genom att ta upp problematik kring kategorisering inspirerat av Rhani Lee Remedes (2002) ”SCUB Manifest: Society for cutting up boxes”. Tillsammans med curatorn Jenny Richards organiserade AND en boxningsklubb för självidentifierande kvinnor. Frågan var om sparring, när den definieras som fysisk lek och inte som tävling, kan tillåta oss att öva in olika sätt att relatera till varandra inom andra områden. Experimentet bestod av boxning, inte i termer av maskulinitet och våld eller det naturliga urvalet, utan som ett ögonblick av intensiv förhandling om gränsområde, besmittning och gränslänkning (Ettinger 2006). I detta avseende gör boxningen att gränser blir genomträngliga för våra ”riktiga” subjekt (en ”individ” tänkt som grundad i ensamt ägande av sig själv). Som en icke-verbal kroppslig dialog överskrider den gränser som vi på andra håll försöker skydda. Under sparringen avstår jag medvetet från denna etablerade immunitet – mina konturer blir sårbara genom beröringens ömsesidighet: min knytnäve berör och blir berörd samtidigt. När jag begrundar detta projekt kopplar jag tankar om immunitet och gemenskap (Esposito, 2010; Lorey, 2013) till de stimulerande, problematiska och krävande upplevelser som sparringsessionerna innebar. Jag kommer att reflektera över sparring som en radikal kroppslig dialog, överväga dess potential att lära ut hur man konkurrerar utan att behöva vinna och hur man praktiserar respektfull oenighet.<br />
<br />
==”Att tänka med”: Formatet==<br />
<br />
Formatet för denna forskning är en sammanläggningsavhandling, som består av en tydlig uppsättning praktiska experiment och en kappa som belyser forskningsprojektets bidrag och lokaliserar detta bidrag med hänvisning till befintliga kunskapspraktiker. Avsikten med kappan är att låta komponenterna behålla sina separata, självständiga identiteter, men också att göra det möjligt för dem att förenas som delar i en större konstruktion.<br />
<br />
Eftersom de flesta av praktikerna är samarbeten såg jag en fara i det faktum att det mestadels kommer att vara jag som berättar, avgränsar och till en viss del historiserar dem ur mitt perspektiv enbart. Dilemmat var att differentiera ”jaget” och ”vi:et” genom hela detta skrivande och tänkande; de är ofta svåra att separera. Detta ”jag” växlar också, är inte stabilt, kanske osammanhängande, eftersom det har befolkats av andra under det gemensamma arbetet och tänkandet.<br />
<br />
Mitt i processen bestämde jag mig för att släppa det solitära Word-dokumentet på min hårddisk och fortsätta i form av en öppen MediaWiki-källkod. Det blev ett ”paradigmskifte” för mig, från den skyddade, privata och egenägda miljön på min hårddisk till en webbaserad, öppen och ”offentlig” miljö under hela processen med tentativt tänkande, skrivande och arkivering. Detta arbete är inte låst i en vetenskaplig monografi i en universitetssamling, utan tillgängligt via internet – vilket öppnar för en läsarkrets utöver dem som har tillgång till eller är benägna att besöka europeiska universitetsbibliotek (Cusicanqui, 2011). Det innebär också att arbetet är öppet för att återkoppla till grupper utanför den akademiska världen, där de flesta av aktiviteterna grundlades och utvecklades.<br />
<br />
Ett specifikt verktyg, kodat av Cristina Cochior och Manetta Berends från Varia (Rotterdam), utgörs av anteckningsfunktionen. Det uppmanar samarbetsparterna att kommentera, addera och inte instämma i mina redogörelser för projekten. På så sätt förvandlar det avhandlingen från en auktoritativ text till ett tillfälle för förhandling, motsättning och konsultation.<br />
<br />
<br />
==Färdplan==<br />
<br />
Kapitlet <b>Setting</b> ger en översikt över vad undersökningen handlar om – som beskrivits ovan. Det introducerar det grundläggande forskningsämnet, agendan och syftet. Kapitlet beskriver kontexten, problemen jag tar upp och frågorna jag började med. Det ger också information om hur MediaWiki är uppbyggt och hur det kan läsas.<br />
<br />
Kapitlet <b>Survey of the Field</b> kartlägger kontexten och fältet som forskningsprojektet bidrar till. De kartlagda praktikerna är utbredda i geografiska och historiska termer, och de bygger på ett brett spektrum av disciplinära källor. Detta breda undersökningsfält härrör från ett engagemang i att arbeta transversalt och att inte vara bunden av protokollen för ett enda fält – vare sig det är samtidskonst, feministiska organisationspraktiker eller radikal utbildning. Vid närmare granskning är samtliga praktiker som jag diskuterar i detta kapitel separata fall där de dominerande paradigmen för publicering och kunskapsformandet på ett eller annat sätt har justerats – och fungerar som motpolitiska projekt. På olika sätt utgör de hinder för uppfattningar om författarskap, redaktionella processer, design, produktion och distribution, såväl som för metoder för klassificering, arkivering och läsning. Kapitlet kartlägger alternativa infrastrukturer (tidiga konceptuella konstnärsböcker, USA), motkulturella medier (Radical Printshops, See Red, UK, 1980-talet) och feministiska praktiker för öppen källkodsteknik (Constant, Bryssel). Kapitlet framför en detaljerad diskussion om bibliotekets koncept som en institution som arkiverar, organiserar och katalogiserar kunskaper. Denna diskussion fokuserar både på institutionella bibliotek och deras standarder för förvärv och katalogisering, likaså på ”extitutionella” exempel (Shadow Libraries) som kringgår institutionella avgränsningar och kommersiella monopol.<br />
<br />
Kapitlet <b>Summary of Projects and Submitted Materials</b> ger en översikt över de långsiktiga samarbetsprojekt som jag har genomfört (”Projects”), broschyrerna, uppsatserna och artiklarna som jag har (sam-)publicerat (”Published, Fixed”) och eventbaserade aktiviteter, såsom undervisning, workshoppar, presentationer, diskussioner och think-ins (”Discursive, Unfixed”).<br />
I kapitlet kartläggs variationen på projekt, webbplatser och strategier som är viktiga som del i en bredare strategi för feministisk publicering. Det innebär att dessa projekt och experiment verkar på olika arenor och sträcker sig bortom traditionella uppfattningar om publikation.<br />
<br />
Syftet med kapitlet <b>Reflection and Theorization of Projects</b> är att öppna upp komplexiteten och motsättningarna i vart och ett av praktikprojekten genom en reflektionsprocess. Detta i avsikt att fastställa vad praktikexperimenten innebar och hur de potentiellt kan bidra till en kritisk förståelse av den aktiva mikropolitiken när vi skapar och delar kunskap under institutionella förhållanden, men också utanför dem. Detta kapitel reflekterar över taktikerna som har utvecklats inom praktikerna och försöken att ”göra saker annorlunda”. Det utvärderar vad projekten hoppades uppnå, vad som var möjligt att uppnå och av vilka skäl.<br />
<br />
Kapitlet <b>Analysis</b> granskar på nytt de ursprungliga frågorna som gav upphov till denna forskning och analyserar hur dessa skiftade och omformulerade sig själva under de fem projekten. I detta kapitel har jag identifierat och undersökt paradoxerna, konflikterna och motsättningarna i ett emancipatoriskt och intersektionellt tillvägagångssätt för publicering, orsakad av (i) system för validering och revisionskultur, (ii) det ”bestämbara” objektets stagnation samt (iii) vilken auktoritet dessa separata publicerade objekt producerar. Detta kapitel zoomar in mikropolitiken för kunskapspraktik inom institutionella och ”extitutionella” kontexter och utkristalliserar en rad ämnen som dykt upp under projekten.<br />
<br />
Det delar med sig insikter om det kollektiva arbetets politiska betydelse som avviker från den samhälleliga standardmässiga individualiseringen – liksom dess begränsningar. Kapitlet etablerar makten i att namnge, avgränsa och kunskapsklassificera, till exempel på bibliotek, och identifierar hur bibliotekskatalogen i sig är en meningsskapande struktur. Den öppnar upp innebörderna av den förmodade beständigheten i publicerad kunskap och visar flera taktiker för hur denna beständighet, och likaledes auktoriteten som den skapar, kan vara ”obunden”. I kapitlet hävdar jag att boken, som ett separat objekt, förvandlar kunskap via författarskap till privat egendom – baserat på upphovsrätt och det relaterade originalitetsanspråket.<br />
<br />
Kapitlet diskuterar hur vi kan föreställa oss författarskap utan ägande och – baserat på projektens resultat – hur vi kan föreställa oss en publikation inte som ett slutresultat utan som ett förmedlande tredje objekt. Här lanserar jag hur boken kan fungera som stöd för att röra sig mot ett nytt tänkande och arbete tillsammans, som – vilket jag hävdar – slutligen är viktigare än själva stödet. Jag presenterar en helt och hållet flexiblare förståelse av författarskap som omprövar författaren som en upphovsperson, skapare, verkställare, lärare – som någon som ”åstadkommer något”. Här lånar jag Karen Barads metafor för komposthög, en ekologi av ”matning, intag, utsöndring”. En sådan decentraliserad förståelse av författarskap skulle kräva nya utvärderingskriterier: kriterier som uppmärksammar sätten på vilka vi publicerar, inkluderingen av våra verktyg och vem som uppmuntras att tala eller förbli tyst. Kort sagt, den behöver oss för att utvärdera processen snarare än bara resultatet.<br />
<br />
Kapitlet avslutas med en diskussion om hur delningen av mina forskningsresultat i form av en avhandling kan utveckla en epistemisk metod som undviker precis de fallgropar som jag adresserar med detta forskningsprojekt. Det finns till exempel dilemman och dubbelbindningar som jag måste förhandla om när jag som individ underkastas ett examineringsprotokoll och försöker förflytta kollektivt arbete – som hände någon annanstans, i utsatta samhällen – till den akademiska världens institutionella kontext.<br />
<br />
Användningen av MediaWiki med öppen källkod för att utveckla avhandlingen ”offentligt” är ett försök att dela avhandlingen, inte som en produktion utan som en process – i dialog med och genom återkoppling till komposthögen. Dess tvåvägsinteraktion som produktion och spridning inbjuder samtidigt till dialog, multivokalitet och motsättningar.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=7_References&diff=116077 References2020-10-13T08:41:04Z<p>Eva: /* Resources */</p>
<hr />
<div><br />
This page compiles the resources that I have used (i) in my collaborative practice projects, (ii) consulted for the range of the already circulating published works, and (iii) for the writing of the kappa. It goes beyond the strict "cited sources" list since it includes materials that have indirectly informed my practice or thinking. These mapped works circulate in different contexts: academic, activist, community, art – in short, outside and inside academia. Where possible I linked to their sources for reading or download, or uploaded the documents directly to this wiki database. As such, this section extends, to a degree, the concept of bibliography and operates partly as an archive.<br />
<br />
=Resources=<br />
<br />
Adema, Janneke, and Gary Hall. "The Political Nature Of The Book: On Artists’ Books And Radical Open Access." <i>New Formations</i>, vol. 78, no. 1 (2013): 138–56. https://doi.org/10.3898/NEWF.78.07.2013. [https://curve.coventry.ac.uk/open/file/bec7fd48-e138-4bb1-840e-bc664e3e6ca1/1/The%20political%20nature%20of%20the%20book.pdf PDF].<br /><br />
<br />
Adema Janneke, and Samuel A. Moore. "Collectivity and collaboration: imagining new forms of communality to create resilience in scholar-led publishing." <i>Insights</i> 31: 3 (2018). https://doi.org/10.1629/uksg.399. <br /><br />
<br />
Adema, Janneke. "Scanners, collectors and aggregators. On the underground movement of (pirated) theory text sharing", <i>Open Reflections</i>, September 20, 2009. https://openreflections.wordpress.com/2009/09/20/scanners-collectors-and-aggregators-on-the-%E2%80%98underground-movement%E2%80%99-of-pirated-theory-text-sharing/. <br /><br />
<br />
———.<i>Radical Open Access – Building Horizontal Alliances </i>, (2018).<br />
https://radicaloa.disruptivemedia.org.uk/tag/janneke-adema/. <br /><br />
<br />
Ahmed, Sara. "Making Feminist Points." <i>Feminist Kill Joys</i>, November 11, 2013. https://feministkilljoys.com/2013/09/11/making-feminist-points/. <br /><br />
<br />
———. "White Men." <i>Feminist Kill Joys</i>, April 11, 2014. https://feministkilljoys.com/2014/11/04/white-men/. <br /><br />
<br />
———. <i>Differences That Matter – Feminist Theory and Postmodernism</i>. Cambridge: Cambridge University Press, 2004. <br /><br />
<br />
Alarcon, Daniel. "Life amongst the Pirates". <i>Granta 109: Work</i>, January 14, 2010. https://granta.com/life-among-the-pirates. <br/><br />
<br />
Alperin, J.P., C. Muñoz Nieves, L. Schimanski, G.E. Fischman, M.T. Niles, and E.C. McKiernan. "How significant are the public dimensions of faculty work in review, promotion, and tenure documents?," <i>eLife</i>, February 12, 2019. https://doi.org/10.7554/eLife.42254.003. <br /><br />
<br />
Altmetric. https://www.altmetric.com/. <br /><br />
<br />
AND Publishing Guestroom Residency, Marabouparken konsthall, Stockholm, April–August 2018. http://marabouparken.se/and-publishing/?lang=en. <br /><br />
<br />
AND Publishing, The Piracy Project. http://andpublishing.org/?s=the+piracy+project.<br /><br />
<br />
AND Publishing. "AND Publishing announces Piracy Lectures". <i>art-agenda</i>, May 4, 2011. https://www.art-agenda.com/shows/and-publishing-announces-the-piracy-lectures. <br /><br />
<br />
Art Metropole, Toronto. https://artmetropole.com/. <br /><br />
<br />
Atton, Chris. "The infoshop: the alternative information centre of the 1990s." <i>New Library World</i>, vol. 100, no. 1146 (1999): 24–29. <br /><br />
<br />
———. "Infoshops in the Shadow of the State." In <i>Contesting Media Power: Alternative Media in a Networked World</i>, edited by N. Couldry and J. Curran, 57–69. Lanham: Rowman & Littlefield Publishing, 2003.<br /><br />
<br />
<i>Art-Rite</i> magazine, winter/spring 1975/1976.<br /><br />
<br />
<i>Art-Rite</i> magazine, winter/spring 1976/1977. [http://wiki.evaweinmayr.com/images/a/a3/Art-Rite_no14_excerpt.pdf. PDF] <br /><br />
<br />
Atria – Institute on gender equality and women's history.<br />
"Women Thesaurus." https://institute-genderequality.org/library-archive/thesaurus/. <br /><br />
<br />
Aufderheide, Patricia, Peter Jaszi, Bryan Bello, and Tijana Milosevic. <i>Copyright, Permissions, and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities: An Issues Report</i>. New York: College Art Association, 2014. https://www.collegeart.org/pdf/FairUseIssuesReport.pdf. <br /><br />
<br />
Bailey, Olga, Bart Cammaerts, and Nico Carpentier. <i>Understanding Alternative Media</i>. Maidenhead: Open University Press, 2008.<br /><br />
<br />
Baines, Jess. "Free Radicals". <i>Afterall</i>, January 28, 2010. http://www.afterall.org/online/radical.printmaking.<br /><br />
<br />
———. <i>Democratising Print</i>. PhD diss., London School of Economics, 2016.<br /><br />
<br />
———. "Experiments in democratic participation: feminist printshop collectives". <i>Cultural Policy, Criticism & Management Research</i>, vol. 6 (Autumn, 2012): 29–51. https://culturalpolicyjournal.wordpress.com/past-issues/issue-no-6/feminist-printshop-collectives/. <br /><br />
<br />
Baldessari, John. <i>Art-Rite</i> magazine, 1976/1977. <br /><br />
<br />
Barad, Karen. "Diffracting Diffraction: Cutting Together-Apart". <i>Parallax</i>, 20:3, (2014): 168–87. https://doi.org/10.1080/13534645.2014.927623. <br /><br />
<br />
———. "Nature's Queer Performativity", <i>Kvinder, KØN & Forskning</i> 46, 1-2, (2012): 25–53, https://tidsskrift.dk/KKF/article/view/28067. <br /><br />
<br />
Barok, Dušan, ed. <i>Monoskop Reader</i>. Produced for the exhibition "Open Scores", Panke Gallery, Berlin, 2019. In the context of the research project "Creating Commons", ZHdK Zurich convened by Cornelia Sollfrank, Shusha Niederberger, and Felix Stalder. http://creatingcommons.zhdk.ch/reader-on-shadow-artistic-independent-autonomous-digital-libraries/. <br /><br />
<br />
Barthes, Roland. "The Death of the Author". In <i>Image Music Text</i>, edited and translated by Stephen Heath, 142–49. London: Fontana Paperbacks, [1967] 1990.<br /><br />
<br />
———. <i>S/Z</i>. Translated by Richard Howard. New York: Hill and Wang, 1974. <br /><br />
<br />
Basile, Jonathan. "Who’s Afraid of AAARG." <i>Guernica Magazine</i> (August 25, 2016). https://www.guernicamag.com/jonathan-basile-whos-afraid-of-aaarg/. <br /><br />
<br />
Bateson, Gregory. <i>Steps to an Ecology of Mind</i>. San Francisco: Jason Aronson, 1972. <br /><br />
<br />
Bathurst Judge, Cyril. <i>Elizabethan book-pirates</i>. Cambridge: Harvard University Press, 1934.<br /><br />
<br />
Bayle, Pierre. <i>The Dictionary Historical and Critical of Mr. Peter Bayle</i>. London, 1737 (2nd edition). <br /><br />
<br />
Benjamin, Walter. "Unpacking my Library: A Talk about Book Collecting." In <i>Illuminations</i>, translated by Harry Zohn, edited and with an introduction by Hannah Arendt, 59–67. New York: Schocken Books, 1969. <br /><br />
<br />
Bently, Lionel. "Copyright and the Death of the Author in Literature and Law." <i>Modern Law Review</i>, 57 (1994): 973–86.<br /><br />
<br />
Bently, Lionel, Andrea Francke, Sergio Muñoz Sarmiento, Prodromos Tsiavos, Eva Weinmayr, and the audience. "A Day at the Courtroom." In <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke & Eva Weinmayr, 91–133. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Bently, Lionel, Jennifer Davis, and Jane C. Ginsburg, eds. <i>Copyright and Piracy: An Interdisciplinary Critique</i>. Cambridge: Cambridge University Press, 2010. <br /><br />
<br />
Berman, Sanford. <i>Prejudices and Antipathies: A Tract on the LC Subject Heads Concerning People</i> (1971). Reprint, London: McFarland & Co, 1993. <br /><br />
<br />
Biagioli, Mario. "Documents of Documents". In <i>Documents, Artifacts of Modern Knowledge</i>, edited by Annelise Riles, 127–57. Ann Arbor: The University of Michigan Press, 2006. <br /><br />
<br />
———."Plagiarism, Kinship and Slavery". <i>Theory Culture Society</i>, 31(2/3) (2014): 65–91. https://doi.org/10.1177/0263276413516372. <br /><br />
<br />
Bird, Greg, and Jonathan Short. "Community, Immunity, and the Proper – an introduction to the political theory of Roberto Esposito." <i>Angelaki, Journal of the Theoretical Humanities</i>, vol. 18, no. 3 (September 2013): 1–12.<br /><br />
<br />
Bishop, Claire. "The Social Turn: Collaboration and Its Discontents". <i>Artforum</i> (February, 2006). <br /><br />
<br />
Bodó, Balazc. "Libraries in the post-scarcity era." In <i>Copyrighting Creativity: Creative Values, Cultural Heritage Institutions and Systems of Intellectual Property</i>, edited by Helle Porsdam, 75–92. Farnham: Ashgate, 2015. https://www.semanticscholar.org/paper/Libraries-in-the-Post-Scarcity-Era-Bodo/934cf6b47a4d6e9b765d378ddf74f01364f821c5?p2df. <br /><br />
<br />
Bowker, Geoffrey C., Stefan Timmermans, Adele E. Clarke, Ellen Balka, eds. <i>Boundary Objects and Beyond – Working with Leigh Star</i>. Cambridge MA: The MIT Press, 2016. <br /><br />
<br />
Bränström, Helena, and Elsa Modin. "Women are not a subject – subject indexing at Kvinnohistoriska samlingarna." MA thesis, Bibliotekshögskolan Boras, 1998.<br /><br />
<br />
Briet, Suzanne. <i>Qu'est-ce que la documentation?</i> EDIT: Paris, 1951. (English edition, translated and edited by Ronald E. Day and Laurent Martinet with Hermina G. B. Anghelescu. Lanham, MD: Scarecrow Press, 2006.) https://monoskop.org/log/?p=11894. <br /><br />
<br />
Buckland, Michael K. "What is a Document." <i>Journal of the American Society for Information Science</i>, vol. 48, issue 9 (September 1997): 804–09.<br /><br />
<br />
Butler, Judith. <i>Notes Toward A Performative Theory of Assembly</i>. Cambridge MA: Harvard University Press, 2015. <br /><br />
<br />
Candea, Matei, ed. <i>The Social after Gabriel Tarde: Debates and Assessments</i>. London: Routledge, 2010. <br /><br />
<br />
Cella, Bernhard, Leo Findeisen, and Agnes Blaha <i>no isbn</i>. Vienna: Salon für Kunstbuch, 2015. <br /><br />
<br />
Center for an Urban Future. <i>Branches of Opportunity</i>. New York City: Jan 2013. https://nycfuture.org/pdf/Branches_of_Opportunity.pdf. <br /><br />
<br />
Chang, Yi-Ting, Litzy Galarza, Mercer Gary, Erika Grimm, Ryan Lenau, Cynthia Marrero-Ramos, and Kierstan Thomas. “Lugones Lexicon." This lexicon was produced by the graduate students in the seminar, “Feminism, Intersectionality, Decolonialism: The Work of María Lugones,” co-taught by Nancy Tuana and Emma Velez in fall 2017. Penn State University, 2018. https://sites.psu.edu/lugonesconference/files/2014/11/Lugones-Lexicon-25rjap6.pdf. <br /><br />
<br />
Chatterjee, Piya, and Sunaina Maira, eds. <i>The Imperial University, Academic Repression and Scholarly Dissent</i>. Minneapolis: University of Minnesota Press, 2014. <br /><br />
<br />
Choi, Binna, Annette Krauss, Yolande van der Heide, and Liz Allan, eds. <i>Unlearning Exercises – Art Organizations as Sites for Unlearning</i>. Amsterdam: Valiz; Utrecht: Casco Art Institute/Working for the Commons, 2018.<br />
<br />
Coleman, Gabriella. <i>Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous</i>. London and New York: Verso, 2014.<br /><br />
<br />
Constant, eds. <i>I think that conversations are the best, biggest thing that Free Software has to offer its user</i>. Brussels: Constant, 2015. https://conversations.tools/.<br /><br />
<br />
Constant, eds. <i>Mondotheque – A Radiated Book</i>. Brussels: Constant, 2016. [https://monoskop.org/images/9/94/Mondotheque_A_Radiated_Book_Un_livre_irradiant_Een_irradierend_boek_2016.pdf PDF.] <br /><br />
<br />
Constant, eds. "Omissum". Brussels: Constant, 2020. https://constantvzw.org/site/Paul-Otlet-Een-Omissum.html. <br /><br />
<br />
Constant, eds. <i> Are you being served</i>. Brussels: Constant 2015. https://areyoubeingserved.constantvzw.org/. <br /><br />
<br />
Cooper, Charlotte. "Research Justice Diagram." In <i>Let's Mobilize: What is Feminist Pedagogy?</i>. Gothenburg: HDK-Valand, 2018, 35. br /><br />
<br />
Couldry, Nick, and James Curran. <i>Contesting Media Power: Alternative Media in a Networked World</i>. Lanham: Rowman & Littlefield, 2003.<br /><br />
<br />
Craig, Carys J. "Symposium: Reconstructing the Author-Self: Some Feminist Lessons for Copyright Law." <i>American University Journal of Gender, Social Policy & the Law</i>, Issue 15, no. 2 (2007): 207–68. <br /><br />
<br />
Craig, Carys J., and Joseph F. Turcotte, with Rosemary J. Coombe. "What’s Feminist about Open Access? A Relational Approach to Copyright in the Academy", <i>feminists@law: An Open Access Journal of Feminist Legal Scholarship</i>, vol. 1, no. 1 (2011): 1–35. <br /><br />
<br />
Cramer, Florian. "Unbound Books: Bound Ex Negativo", presentation at "The Unbound Book", Institute for Network Cultures, Hogeschool van Amsterdam, May 20, 2012. https://vimeo.com/24308435, podcast. <br/><br />
<br />
Cramer, Florian, Stewart Home, and Tatiana Bazzichelli. "Infiltration." Performance lecture at "Disruption Network Lab #14," Berlin, September 27, 2018. https://www.youtube.com/watch?v=gBSLrwTdJzs&t=3738s. <br /><br />
<br />
Cullen, Kevin, and John Ellement. "MIT hacking case lawyer says Aaron Swartz was offered plea deal of six months behind bars". <i>Boston Globe</i>, January 14, 2013. https://www.boston.com/uncategorized/noprimarytagmatch/2013/01/14/mit-hacking-case-lawyer-says-aaron-swartz-was-offered-plea-deal-of-six-months-behind-bars. <br/><br />
<br />
Culture Machine and Post Office Press, eds.<i>The Geopolitics of Open</i>. Coventry: Centre for Postdigital Cultures, Coventry University, 2018. <br />
http://radicaloa.disruptivemedia.org.uk/conferences/roa2/the-geopolitics-of-open/. <br /><br />
<br />
Cunningham, John. "Clandestinity and Appearance". <i>Mute Magazine </i>, July 8, 2010. http:// www.metamute.org/editorial/articles/clandestinity-and-appearance. <br /><br />
<br />
Cusiquanci, Silvia Rivera, El Colectivo 2, La Paz-Chukiyawu. "A Stroll through the Colonial Library", unpublished paper presented at the conference "Dis/Locating Culture: Narratives and Epistemologies of Displacement", Houston, Rice University, December 9–10, 2011. https://www.academia.edu/7338101/A_stroll_through_the_Colonial_Library. <br /><br />
<br />
Cutter, Charles A. <i>Rules for a Dictionary Catalogue</i>, 4th ed. London: Library Association, [1904] 1962. <br /><br />
<br />
de Certeau, Michel. <i>A Practice of Everyday Life</i>. Berkeley and Los Angeles: University of California Press, 1984. <br /><br />
<br />
Dath, Caroline. "How to hack Study Regulations." <i>Mai: Feminism and Visual Culture, special focus #5: Feminist Pedagogies</i>, January 2020. https://maifeminism.com/issues/issue-5-feminist-pedagogies/. <br /><br />
<br />
Dean, Jodi, Sean Dockray, Alessandro Ludovico, Pauline van Mourik Broekman, Nicholas Thoburn, and Dmitry Vilensky. "Materialities of Independent Publishing: A Conversation with AAAAARG, Chto Delat?, I Cite, Mute, and Neural". <i>New Formations</i> 78, (August 2013): 157–78. https://chtodelat.org/b5-announcements/a-7/materialities-of-independent-publishing-a-conversation-with-aaaaarg-chto-delat-i-cite-mute-and-neural/. <br /><br />
<br />
De Jong, Sara, and Sanne Koevoets, eds. <i>Teaching Gender with Libraries and Archives: The Power of Information</i>. Budapest: Central European University Press, 2013. <br /><br />
<br />
Dekker, Annet. "Copying as a Way to Start Something New. Annet Dekker in Conversation with Dušan Barok About Monoskop." In <i>Lost and Living (in) Archives</i>, edited by Annet Dekker, 175–90. Amsterdam: Valiz, 2017. [https://monoskop.org/images/1/11/Dekker_Annet_ed_Lost_and_Living_in_Archives_2017.pdf PDF]. <br /><br />
<br />
Deleuze, Gilles, and Claire Parnet. <i>Dialogues II</i>. New York: Columbia University Press, 1987. <br /><br />
<br />
Deleuze, Gilles, and Félix Guattari. <i>A Thousand Plateaus: Capitalism and Schizophrenia</i>. Translated by Brian Massumi. Minneapolis and London: University of Minnesota Press, 2005. <br /><br />
<br />
Deleuze, Gilles. "Letter to a Harsh Critic." In <i>Negotiations, 1972–1990</i>. New York: Columbia University Press, 1995. <br /><br />
<br />
de Sousa Santos, Boaventura. <i>The End of the Cognitive Empire – the coming of age of epistemologies of the south</i>. Durham and London: Duke University Press, 2018.<br /><br />
<br />
Dewey, Melvil. <i>Decimal Clasification and Relative Index</i>. 13th edition. Essex County, New York: Forest Press, 1932.<br /><br />
<br />
Di Franco, Karen. "The Library Medium." In <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Cloning, Translating</i>, edited by Andrea Francke and Eva Weinmayr, 77–90. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Dockray, Sean, and Fiona Whitton. "The Public School", Los Angeles. http://thepublicschool.org/la. <br /><br />
<br />
Dockray, Sean. "Expanded Appropriation." Interview conducted by Cornelia Sollfrank, Berlin, 4 January 2013. In the context of the research project "Giving what you don’t have," Postmedialab, Leuphana University, Lüneburg. http://artwarez.org/projects/GWYDH/dockray.html, podcast.<br /><br />
<br />
Döderlein, Lousia. "16 Minds – Karen Eliot and Second Life". <i>InEnArt</i>, October 24, 2013. http://www.inenart.eu/?p=12244.<br />
<br />
Domela, Paul, and John Byrne, eds. <i>Martha Rosler Library</i>. Liverpool Biennal of Contemporary Art, 2008.<br /><br />
<br />
Douglas, Mary. <i>How Institutions Think</i>. Syracuse: Syracuse University Press, 1986. <br /><br />
<br />
Drabinski, Emily. "Queering the Catalog: Queer Theory and the Politics of Correction." <i>Library Quarterly</i>, 83.2, (2013): 94–111. <br /><br />
<br />
———. "Teaching the Radical Catalog." In <i>Radical Cataloging: Essays at the Front</i>, edited by K. R. Roberto. Jefferson, North Carolina: McFarland, 2008. http://www.emilydrabinski.com/wp-content/uploads/2012/06/drabinski_radcat.pdf.<br /><br />
<br />
———. "Gendered S(h)elves: Body and Identity in the Library". <i>Women & Environments International Magazine</i> 78/79; Platinum Periodicals (Fall 2009/Winter 2010): 16–20. http://www.emilydrabinski.com/wp-content/uploads/2012/06/emily_weimag.pdf. <br /><br />
<br />
Drucker, Joanna. "Collaboration without Object(s) in the Early Happenings". <i>Art Journal</i>. (Winter 1993): 51–58. <br /><br />
<br />
———. <i>The Century of Artists' Books</i>. New York: Granary Books, 2004.<br /><br />
<br />
Drumm, Michelle. "Naming the Love That Dare Not Speak Its Name: A Look at How Gays and Lesbians are Classified in the Dewey Decimal Classification." <i>Drumm</i>, April 10, 2000. http://drumm.info/naming-the-love/. <br /><br />
<br />
Eastside Projects. https://eastsideprojects.org/. <br /><br />
<br />
École de Recherche Graphique (erg), Brussles. <i>Proposal of study rules</i>, 2019. [http://wiki.evaweinmayr.com/images/c/cd/Erg_lereine_version270318.pdf French],[http://wiki.evaweinmayr.com/images/d/dd/Proposals_for_amendments_to_Study_Regulations_erg_Brussels.pdf English (translated by Caroline Dath.] <br /><br />
<br />
Eichhorn, Kate. <i>The Archival Turn in Feminism: Outrage in Order</i>. Philadelphia: Temple University Press, 2013. <br /><br />
<br />
Eisenstein, Elisabeth. <i>Printing Press as an Agent of Change</i>. Cambridge: Cambridge University Press, 1982. <br /><br />
<br />
Elbakyan, Alexandra. "Some facts on Sci-hub that Wikipedia gets wrong." <i>Engineuring</i>, July 2, 2017. https://engineuring.wordpress.com/2017/07/02/some-facts-on-sci-hub-that-wikipedia-gets-wrong/. <br /><br />
<br />
<i>Encyclopedia Britannica</i>, s.v. "Dewey Decimal System." https://www.britannica.com/science/Dewey-Decimal-Classification. <br /><br />
<br />
<i>English Words and Greek Cognates</i>. "Etymology of Pirate", March 2, 2012. http://ewonago.wordpress.com/2009/02/18/etymology-of-pirate. <br /><br />
<br />
Errejón, Íñigo, and Chantal Mouffe. <i>Podemos: In the Name of the People</i>. London: Lawrence & Wishart, 2016. <br /><br />
<br />
Esposito, Roberto. <i>Communitas: The Origin and Destiny of Community</i>. Translated by Timothy C. Campbell. Stanford: Stanford University Press, 2010. <br /><br />
<br />
———. <i>Terms of the political – Community, Immunity, Biopolitics</i>. Translated by Rhiannon Noel Welch. New York: Fordham University Press, 2013. <br /><br />
<br />
———. "The Immunization Paradigm". <i>Diacritics</i> 36.2 (2006): 23–48.<br /><br />
<br />
Ettinger, Bracha L. <i>The Matrixial Borderspace</i>. Theory Out Of Bounds 28. Minneapolis: University of Minnesota Press, 2006. <br /><br />
<br />
Evergreen. Open-source library software. http://evergreen-ils.org/. <br /><br />
<br />
Feminist Pedagogy Working Group (Rose Borthwick, Kanchan Burathoki, MC Coble, Andreas Engman, and Eva Weinmayr), eds. <i>Let's Mobilize: What is Feminist Pedagogy workbook</i>. Gothenburg: HDK-Valand; London: AND Publishing, 2016. http://whatisfeministpedagogy.tumblr.com/workbook. <br /><br />
<br />
Feminist Search Tool. https://feministsearchtool.nl/. <br /><br />
<br />
Ferreira da Silva, Denise and Arjuna Neumann. "Email correspondence between Arjuna Neuman and Denise Ferreira da Silva 2017–2018". London: The Showroom, n.d. https://www.theshowroom.org/system/files/062020/5ef3716252712a038b005fbc/original/email_correspondence_AN_DFDS.pdf?1599108851. <br /><br />
<br />
Fielitz, Maik, and Nick Thurston, eds. <i>Post-Digital Cultures of the Far-Right – Online Actions and Offline Consequences in Europe and the US</i>. Bielefeld: transcript-Verlag, 2019. https://library.oapen.org/handle/20.500.12657/27372.<br /><br />
<br />
Filipovic Elena. "If You Read Here… Martha Rosler's Library". <i>Afterall 15</i> (Spring/Summer 2007).<br /><br />
<br />
Fitzpatrick, Kathleen. <i>Generous Thinking The University and the Public Good</i>. Humanities Commons, 2018. https://generousthinking.hcommons.org. <br />
<br />
———. <i>Generous Thinking - A Radical Approach to Saving the University</i>. Baltimore: Johns Hopkins University Press, 2019. <br/><br />
<br />
Flood, Alison. "Britain has closed almost 800 libraries since 2010, figures show", <i>The Guardian</i>, December 6, 2019. https://www.theguardian.com/books/2019/dec/06/britain-has-closed-almost-800-libraries-since-2010-figures-show?CMP=fb_gu&utm_medium=Social&utm_source=Facebook&fbclid=IwAR1R4FJWQIXNYr6Wst2Lx85LvpVEQ8QUSD3GrsGmNyZp-th5TY_4YjTFojg#Echobox=1575619729/. <br /><br />
<br />
Foucault, Michel. "What is an Author?". In <i>Language, Counter-Memory, Practice: Selected Essays and Interviews</i>, edited by Donald F. Bouchard, 113–38. Ithaca, NY: Cornell University Press, 1980. <br /><br />
<br />
———. "Fantasia of the Library." In <i>Language, Counter-Memory, Practice: Selected Essays and Interviews</i>, edited by Donald F. Bouchard, 87–109. Ithaca, NY: Cornell University Press, 1977.<br /><br />
<br />
Francke, Andrea, and Ross Jardine. "Bureaucracy’s Labour: The Administrator as Subject." <i> Parse issue 5 – On Management</i>, edited by Erling Björgvinsson, Henric Benesch, Andrea Phillips, 2017. https://parsejournal.com/article/bureaucracys-labour-the-administrator-as-subject/. <br /><br />
<br />
Francke, Andrea, and Eva Weinmayr, eds. <i>Borrowing, Poaching, Plagiarising, Pirating, Stealing, Gleaning, Referencing, Leaking, Copying, Imitating, Adapting, Faking, Paraphrasing, Quoting, Reproducing, Using, Counterfeiting, Repeating, Translating, Cloning</i>. London: AND Publishing, 2014. [http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf PDF].<br /><br />
<br />
Franklin Furnace. New York. http://www.franklinfurnace.org/. <br /><br />
<br />
Fraser, Nancy. "Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy." <i>Social Text</i>, no. 25/26, (1990), 56–80.<br /><br />
<br />
Freeman, Jo. "The Tyranny of Structurelessness, Why organizations need some structure to ensure they are democratic." 1972. http://struggle.ws/hist_texts/structurelessness.html. <br /><br />
<br />
Freire, Paulo. <i>Pedagogy of the Oppressed</i>. New York: Continuum, 2005. <br /><br />
<br />
Gallop, Jane. <i>Anecdotal Theory</i>. Durham, NC, and London: Duke University Press, 2002. <br /><br />
<br />
Gandhi, Leela. <i>The Common Cause, Postcolonial Ethics and the Practice of Democracy, 1900–1955</i>. Chicago and London: The University of Chicago Press, 2014. <br /><br />
<br />
Genette, Gérard. <i>Paratexts: Thresholds of interpretation</i>. Cambridge: Cambridge University Press, 1997. <br /><br />
<br />
Gilbert, Annette, ed. <i>Publishing as Artistic Practice</i>. Berlin and New York: Sternberg Press, 2016. <br /><br />
<br />
Ginzburg, Carlo. <i>Clues, Myths, and the Historical Method</i>. Baltimore: Johns Hopkins University Press, 1989. <br /><br />
<br />
Gitelman, Lisa. <i>Paper Knowledge, Toward a Media History of Documents</i>. Durham, NC, and London: Duke University Press, 2014. [https://library.memoryoftheworld.org/#/book/fd86dab6-960b-49a5-82bd-185c1e5bf12b PDF]. <br /><br />
<br />
Gothenburg University. <i>General Syllabus for Doctoral (third cycle) Education Leading to a Doctor of Philosophy in Artistic Practice at the University of Gothenburg, Reg. No. U2014/701</i>, 2014. [http://wiki.evaweinmayr.com/images/3/36/General-syllabus-PhD_in_Artistic-Practice.pdf PDF].<br /><br />
<br />
Greaney, Patrick. <i>Quotational Practices – Repeating the Future in Contemporary Art</i>. Minneapolis: University of Minnesota Press, 2014. <br /><br />
<br />
Gustavsson, Johanna, and Lisa Nyberg. <i>Do the right thing – A manual from MFK </i>. Malmö: Malmö Free University for Women, 2011. http://www.lisanyberg.net/do-the-right-thing-a-manual-from-mfk/. <br /><br />
<br />
Habermas, Jürgen. <i>Strukturwandel der Öffentlichkeit. Untersuchungen zu einer Kategorie der bürgerlichen Gesellschaft</i> [The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society]. Frankfurt: Suhrkamp, 1962.<br /><br />
<br />
Halbert, Deborah J. <i>Resisting Intellectual Property</i>. London: Routledge, 2005. <br /><br />
<br />
Hall, Gary. "#Mysubjectivation." <i>New Formations</i>,79 (2013): 83–102. https://www.lwbooks.co.uk/sites/default/files/nf79_06hall.pdf. <br /><br />
<br />
———. <i>Digitize This Book! The Politics of New Media, or Why We Need Open Access Now</i>. Minneapolis: University of Minnesota Press, 2008. [https://library.memoryoftheworld.org/#/book/3dda580f-378c-4111-aa93-6dd54b46ff29 PDF].<br /><br />
<br />
———. <i>Pirate Philosophy, for a Digital Posthumanities</i>. Cambridge MA and London: The MIT Press, 2016. [https://library.memoryoftheworld.org/#/book/25891f7c-6a8d-4362-a42c-d1eaa3b9ab7c PDF].<br /><br />
<br />
———. "The Inhumanist Manifesto". <i>Media Theory</i>, (August 2017): 168–78. http://journalcontent.mediatheoryjournal.org/index.php/mt/article/view/29>. <br /><br />
<br />
Hammersly Library. "Style Guide on Citation of Personal Communication." Western Oregon University. https://research.wou.edu/c.php?g=551307&p=3785503. <br /><br />
<br />
Haraway, Donna. "Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective". <i>Feminist Studies</i>, vol. 14, no. 3. (Autumn, 1988): 575–99. [https://monoskop.org/File:Haraway_Donna_1988_Situated_Knowledges_The_Science_Question_in_Feminism_and_the_Privilege_of_Partial_Perspective.pdf PDF].<br /><br />
<br />
———. "Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin." <i>Environmental Humanities</i> 6 (2015): 159–65. <br /><br />
<br />
———. <i>Staying with the Trouble – Making Kin in the Chthulucene</i>. Durham, NC, and London: Duke University Press, 2016.<br />
<br />
Harney, Stefano, and Fred Moten. <i>The Undercommons, Fugitive Planning and Black Study</i>. Wivenhoe, New York, Port Watson: Minor Compositions, 2013. https://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf.<br /><br />
<br />
Hayles, Katherine N. <i>How We Think: Digital Media and Contemporary Technogenesis</i>. Chicago: University of Chicago Press, 2012. <br /><br />
<br />
Heller-Roazen, Daniel. <i>The Enemy of All: Piracy and the Law of Nations</i>. New York: Zone Books, 2009. <br /><br />
<br />
Hemmungs-Wirtén, Eva. <i>No Trespassing, Authorship, Intellectual Property Rights and the Boundaries of Globalization</i>. Toronto: University of Toronto Press, 2004. <br /><br />
<br />
Himmelstein, Daniel S., Ariel Rodriguez Romero, Jacob G. Levernier, Thomas Anthony Munro, Stephen Reid McLaughlin, Bastian Greshake Tzovaras, Casey S. Greene. <br />
"Sci-Hub provides access to nearly all scholarly literature." <i>eLife</i>, March 2018. https://doi.org/10.7554/eLife.32822.001. <br /><br />
<br />
Surplus Library on Affect & Economic Exchange. http://thesurpluslibrary.com/about. <br /><br />
<br />
hooks, bell. <i>Teaching to transgress: education as the practice of freedom</i>. London: Routledge, 1994. <br /><br />
<br />
Huberman, Anthony. "Take Care." In <i>Circular Facts</i>, edited by Mai Abu ElDahab, Binna Choi and Emily Pethick. Berlin and New York: Sternberg Press, 2011. <br /><br />
<br />
Hume, Sarah. "Challenging Dewey: an Introduction", <i>Hack Library School</i>. September 17, 2015. https://hacklibraryschool.com/2015/09/17/challenging-ddc-an-introduction/. <br /><br />
<br />
Hume Sarah. Hack Library School. "Challenging Library of Congress Subject Headings (LCSH): an Introduction." <i>Hack Library School</i>. August 6, 2015. https://hacklibraryschool.com/2015/08/06/challenginglcsh/. <br /><br />
<br />
“Infrastructural Manœuvres”. Rietveld and Sandberg Library, Amsterdam. https://catalogue.rietveldacademie.nl/about.html.<br />
<br />
Iñigo Clavo, Maria. "Modernity vs. Epistemodiversity." <i>e-flux journal</i>, no. 73, May 2016. https://www.e-flux.com/journal/73/60475/modernity-vs-epistemodiversity/.<br /><br />
<br />
Izquierdo Arroyo, J. M. <i>La organizacion documental del conocimiento</i>. Madrid: Tecnidoc, 1995.<br /><br />
<br />
Johns, Adrian. <i>The Nature of the Book</i>. Chicago and London: The University of Chicago Press, 1998. <br /><br />
<br />
———. <i>Piracy: The Intellectual Property Wars from Gutenberg to Gates</i>. Chicago: University of Chicago Press, 2010. <br /><br />
<br />
Karaganis, Joe, ed. <i>Shadow Libraries – Access to Knowledge in Global Higher Education</i>. Cambridge MA and London: The MIT Press, 2018. [https://monoskop.org/images/f/f5/Karaganis_Joe_ed_Shadow_Libraries_Access_to_Knowledge_in_Global_Higher_Education_2018.pdf PDF] <br /><br />
<br />
———.<i>Media Piracy in Emerging Economies</i>, Social Science Research Council, 2011. [https://monoskop.org/images/f/f6/Karaganis_Joe_ed_Media_Piracy_in_Emerging_Economies_2011.pdf PDF].<br />
<br />
Keep it Complex – Make it Clear. https://makeitclear.eu/. <br /><br />
<br />
Kelly, Susan. "The Transversal and the Invisible: How do You Really Make a Work of Art that Is not a Work of Art?". <i>Transversal</i>, 1 (2005). http://eipcp.net/transversal/0303/kelly/en. <br /><br />
<br />
———. "'But that was my idea!' Problems of Authorship and Validation in Contemporary Practices of Creative Dissent". <i>Parallax</i> 19.2 (2013): 53–69. https://doi.org/10.1080/13534645.2013.778496. [http://wiki.evaweinmayr.com/images/a/ad/Kelly_Susan_Parallax_version_But_that_was_my_idea_Problems_of_Authorship_and_Validation_in_Contemporary_Practices_of_Creative_Dissent.pdf PDF].<br />
<br />
Kelty, Christopher. "Recursive Publics and Open Access." In <i>Guerrilla Open Access</i>, edited by Memory of the World. Coventry: Post Office Press, Rope Press, 2018. https://radicaloa.disruptivemedia.org.uk/conferences/guerrilla-open-access-memory-of-the-world/. <br /><br />
<br />
Kember, Sarah, and Eva Weinmayr. <i>Rethinking where the thinking happens</i>. London: AND Publishing, 2015. http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/. <br /><br />
<br />
Kember, Sarah, and Joanna Zylinska. <i>Life after New Media – Mediation as a Vital Process</i>. Cambridge MA and London: The MIT Press, 2012. <br /><br />
<br />
Khonsary, Jeff, and Kristina Lee Podesva, eds. <i>Institutions by Artists</i>. Vancouver: Fillip Editions, 2012. <br /><br />
<br />
Kiesewetter, Rebekka, "Publishing as a Processual Device." <i>Šibenik Alternating Currents – Publishing Acts II</i>. Pula: DAI-SAI, 2019. https://publishingacts.eu/12/. <br /><br />
<br />
König, René, and Miriam Rasch, eds. <i> Society of the Query Reader – Reflections on Web Search</i>. Amsterdam: Institute of Network Cultures, 2014.<br /><br />
<br />
Kinoo, Philippe. "Autorités, pouvoirs, décisions, responsabilités." In <i>Qu'estce qui fait autorité dans les institutions médicosociales?</i>, edited by Muriel Meynckens-Fourez, Christine Vander Borght. Toulouse: Editions Eres, 2007.<br /><br />
<br />
Knowlton, Steven A. "Three Decades since Prejudices and Antipathies: A Study of Changes in the Library of Congress Subject Headings." </i>Cataloguing and Classification Quarterly</i> 40.2 (2005). http://scholar.princeton.edu/steven.a.knowlton/publications/three-decades-prejudices-and-antipathies-study-changes-library. <br /><br />
<br />
Kostelanetz, Richard. "Exhaustive Parallel Intervals," (1979). In Joan Lyons, ed. <i>Artists’ Books: a Critical Anthology and Sourcebook</i>. Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Krauss, Annette. "Sites for Unlearning, On the Material, Artistic and Political Dimensions of Processes of Unlearning", PhD. diss., Academy of Fine Arts Vienna, 2017. <br /><br />
<br />
———. <i>Sites for Unlearning</i>. https://siteforunlearning.tumblr.com/. <br />
<br />
KvinnSam. "From private initiative to the national resource library for gender studies." Gothenburg University Library. http://www.ub.gu.se/kvinn/. <br /><br />
<br />
Lambert, Steve. "Best Case Scenario." <i>Fillip Magazine</i> (winter 2009). https://fillip.ca/content/best-case-scenario. <br /><br />
<br />
———. <i>The New York Times Special Edition</i>. https://visitsteve.com/made/the-ny-times-special-edition/. <br /><br />
<br />
Langdon, James, ed. <i>Book</i>. Birmingham: Eastside Projects, 2010. <br /><br />
<br />
Landow, George P. <i>Hypertext: The Convergence of Contemporary Literary Theory and Technology</i>. Baltimore and London: John Hopkins University Press, 1992.<br /><br />
<br />
Lara, María Pía. <i>Moral textures: Feminist narratives in the public sphere</i>. Berkeley: University of California Press, 1999.<br/><br />
<br />
Larivière, V., S. Haustein, P. Mongeon, "The Oligopoly of Academic Publishers in the Digital Era." <i>Plos One</i>, 10(6), 2015. https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0127502. <br /><br />
<br />
Leddy, Siobhan. "We should all be reading more Ursula Le Guin." <i>The Outline</i>, August 28, 2019. https://theoutline.com/post/7886/ursula-le-guin-carrier-bag-theory?zd=3&zi=zsnwrv3k. <br /><br />
<br />
Leigh Star, Susan, and Geoffrey C. Bowker, <i>Sorting things out – Classification and Its Consequences</i>, Cambridge MA: The MIT Press, 1999. <br /><br />
<br />
Leigh Star, Susan, and James R. Griesemer. "Institutional Ecology, Translations and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907–39." <i>Social Studies of Science</i>, vol. 19, issue 3 (1989): 387–420. <br /><br />
<br />
LeGuin, Ursula. "The Carrier Bag Theory of Fiction". In <i>The Ecocriticism Reader: Landmarks in Literary Ecology</i>, edited by C. Glotfelty and H. Fromm, 149–54. Athens, GA: University of Georgia Press, 1996.<br /><br />
<br />
Liang, Lawrence. "Shadow Libraries." <i>e-flux Journal</i> #37, September 2012. https://www.e-flux.com/journal/37/61228/shadow-libraries/. <br /><br />
<br />
<i>Library Bill of Rights</i>. American Library Association (ALA). http://www.ala.org/advocacy/intfreedom/librarybill. <br /><br />
<br />
Lippard, Lucy. "The Artist’s Book Goes Public." In <i>Artists’ Books: a Critical Anthology and Sourcebook</i>, edited by Joan Lyons. Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Lippard, Lucy. <i>Six years, the dematerialization of the art object 1966–72</i>. Reprint, Berkeley and Los Angeles: University of California Press [1973] 1997. [https://monoskop.org/images/0/07/Lippard_Lucy_R_Six_Years_The_Dematerialization_of_the_Art_Object_from_1966_to_1972.pdf PDF].<br /><br />
<br />
Lipsitz, George. “Academic Politics and Social Change.” In <i>Cultural Studies and Political Theory</i>, edited by Jodi Dean. Ithaca, NY: Cornell University Press, 2000.<br /><br />
<br />
Lobato, Ramon. "The Paradoxes of Piracy." In <i>Postcolonial Piracy: Media Distribution and Cultural Production in the Global South</i>, edited by Lars Eckstein and Anja Schwarz. London and New York: Bloomsbury, 2014. <br /><br />
<br />
Long, Christopher P. "Toxicity, Metrics and Academic Life." In <i>Human Metrics, Metrics Noir</i>, edited by Meeson Press, Eileen Joy, Martina Frantzen, Cristopher P. Long. Coventry: Postoffice Press, 2018. https://core.ac.uk/download/pdf/159489475.pdf. <br /><br />
<br />
Lorey, Isabell. "Politics of Immunization and the Precarious Life." In <i>Dance, Politics & Co-Immunity, Thinking Resistances Current Perspectives on Politics and Communities in the Arts, vol. 1</i>, edited by Gerald Siegmund and Stefan Hölscher, 259–70. Zurich and Berlin: diaphanes, 2013. <br /><br />
<br />
Loveless, Natalie S. "Reading with Knots: On Jane Gallop’s Anecdotal Theory." <i>Berfrois</i>, May 3, 2012. https://www.berfrois.com/2012/05/jane-gallop-becoming-a-feminist/. <br /><br />
<br />
Ludovico, Alessandro. <i>Postdigital Print</i>. Eindhoven: Onomatope, 2012. [https://monoskop.org/images/a/a6/Ludovico,_Alessandro_-_Post-Digital_Print._The_Mutation_of_Publishing_Since_1894.pdf PDF] <br /><br />
<br />
Lugones, María. "Multiculturalism and Publicity." <i>Hypatia</i>, vol. 15, no. 3, (Summer 2000): 175–81.<br/><br />
<br />
———. <i>Pilgrimages/Peregrinajes: Theorizing Coalition Against Multiple Oppressions</i>. Lanham, NY, and Oxford: Rowman & Littlefield, 2003. Epub.<br /><br />
<br />
Lyons, Joan, ed. <i>Artists’ Books: a Critical Anthology and Sourcebook</i>, Rochester, NY: Visual Studies Workshop Press, 1993. <br /><br />
<br />
Mackie, Suzy, and Pru Stevenson. ''SeeRed Women's Workshop – Feminist Posters''. http://www.seeredwomensworkshop.wordpress.com .<br /><br />
<br />
Mackie, Suzy, Pru Stevenson, and Seth Pimlott. <i>ICA Bulletin</i> London, August 7, 2013, https://archive.ica.art/bulletin/see-red-womens-workshop-interview-suzy-mackie-and-pru-stevenson. <br /> <br />
<br />
Mackie, Suzy, and Pru Stevenson. Presentation of See Red at a public event. The Showroom, London, November 16, 2013b. https://www.theshowroom.org/events/see-red-womens-workshop-presentation.<br /><br />
<br />
Macpherson, Crawford Brough. <i>The Political Theory of Possessive Individualism: Hobbes to Locke</i>. Oxford: Oxford University Press, 1962. <br /><br />
<br />
Maldonado-Torres, Nelson. “On the Coloniality of Being: Contributions to the development of a concept.” <i>Cultural Studies</i> vol. 21, nos. 2–3, (March–May 2007): 240–70. https://doi.org/10.1080/09502380601162548.<br /><br />
<br />
Mangen, Anne. "Why bother with print? Some reflections on the role of fixity, linearity and structure for sustained reading," presentation at "The Unbound Book", Conference at the Institute for Network Cultures, Hogeschool van Amsterdam, May 19–21, 2012.<br /><br />
<br />
Mansoux, Aymeric. <i>How Deep is your Source?</i>, 2013. https://archive.bleu255.com/bleu255.com-texts/how-deep-is-your-source/index.html<br /><br />
<br />
Mari, Enzo. <i>Autoprogetazione</i>. Milan: Edizione Corraini, 1974. [http://www.matthewlangley.com/blog/Enzo-Mari-Autoprogettazione2.pdf PDF]. <br /><br />
<br />
Massey, Doreen. <i>For Space</i>. Thousand Oaks, CA, and New York: Sage Publishing, 2005.<br /><br />
<br />
Mattern, Shannon. "Library as Infrastructure." <i>Places Magazine</i>, June 2014. https://placesjournal.org/article/ library-as-infrastructure/. <br /><br />
<br />
Mayfly Books. http://mayflybooks.org/?page_id=2. <br /><br />
<br />
McLuhan, Marshall, "Address at Vision 65, New Challenges for Human Communications," at Southern Illinois University, October 21–23, 1965. In ''Essential McLuhan'', edited by E. McLuhan and F. Zingrone, 208–21. New York: BasicBooks, 1995. <br /><br />
<br />
Medak, Tomislav. "The Future After the Library, UbuWeb and Monoskop’s Radical Gestures." In <i>Public Library</i>, edited by Tomislav Medak, Marcell Mars and What, How & for Whom/WHW. Zagreb: Gallery Nova, 2015. [https://monoskop.org/images/e/ef/Medak_Mars_WHW_eds_Public_Library_Javna_knjiznica.pdf#page=122 PDF]. <br /><br />
<br />
Melucci, Alberto. <i>Challenging Codes: Collective Action in the Information Age</i>. Cambridge: Cambridge University Press, 1996.<br /><br />
<br />
Memory of the World. ''End-to-End Catalog'', November 26, 2012. https://www.memoryoftheworld.org/blog/2012/11/26/end-to-end-catalog/. <br /><br />
<br />
Minh-Ha, Trinh T., <i>Woman, Native, Other: Writing Postcoloniality and Feminism</i>. Bloomington: Indiana University Press, 1989.<br /><br />
<br />
Monoskop. https://monoskop.org. <br /><br />
<br />
Mouffe, Chantal. <i>On the Political – Thinking In Action</i>. London: Routledge, 2005.<br /><br />
<br />
Moya, Paula M. L., "Who We Are and From Where We Speak." <i>Transmodernity, Journal of Peripheral Cultural Production of<br />
the Luso-Hispanic World</i> 1(2), 2011. https://escholarship.org/uc/item/2md416qv. <br /><br />
<br />
Muñoz Sarmiento, Sergio, and Lauren van Haaften-Schick. "Cariou v. Prince: Toward a Theory of Aesthetic-Judicial Judgments." <i>Texas A&M Law Review</i>, vol 1, no. 4 (2014): 941-57. https://scholarship.law.tamu.edu/lawreview/vol1/iss4/8/. <br /><br />
<br />
Nancy, Jean-Luc. <i>Being Singular Plural</i>. Translated by Robert D. Richardson and Anne E. O’Byrne. Stanford, CA: Stanford University Press, 2000. <br /><br />
<br />
Nedelsky, Jennifer. "Reconceiving Rights as Relationship." <i>Review of Constitutional Studies / Revue d’études constitutionnelles</i> 1.1 (1993): 1–26. https://www.law.utoronto.ca/documents/nedelsky/Review1.1Nedelsky.pdf. <br /><br />
<br />
Nony, Anaïs. "Technology of Neo-Colonial Epistemes." <i>Philosophy Today</i> 63 (3) (November 13, 2019): 731–44. <br /><br />
<br />
O’Neill, Paul, and Mick Wilson, eds. <i>Curating and the Educational Turn</i>, London: Open Editions; Amsterdam: de Appel, 2010. [http://betonsalon.net/PDF/essai.pdf PDF] <br /><br />
<br />
O'Neill, Paul, Lucy Steeds, and Mick Wilson, eds. <i>How Institutions Think</i>. Cambridge, MA: The MIT Press, 2017. <br /><br />
<br />
O'Shea, Janet. "Beyond Winning." Presentation at "TEDxUCLA", UCLA California, 2016. https://www.academia.edu/26856411/Beyond_Winning_TEDxUCLA. <br /><br />
<br />
———. <i>Risk, Failure, Play: What Dance Reveals about Martial Arts Training</i>. Oxford: Oxford University Press, 2018. <br /><br />
<br />
Olson, Hope A. "The Power to Name, Locating the Limits of Subject Representation in Libraries." <i>Signs</i>, vol. 26, no. 3 (Spring 2001): 639–68. <br /><br />
<br />
———. "How We Construct Subjects: A Feminist Analysis." <i>Library Trends</i>, vol. 56, no. 2 (Fall 2007): 509–41. https://doi.org/10.1353/lib.2008.0007. <br /><br />
<br />
———. "Sameness and Difference – A cultural foundation of classification." <i>Library Resources & Technical Services</i>, vol. 45, no. 3 (July 2001): 115–22. https://doi.org/10.5860/lrts.45n3.115. <br /><br />
<br />
———. "Difference, Culture and Change: The Untapped Potential of LCSH." <i>Cataloging & Classification Quarterly</i>, 29:1-2 (2000): 53–71. https://doi.org/10.1300/J104v29n01_04. <br /><br />
<br />
OOMK. (One Of My Kind). http://oomk.net/. <br /><br />
<br />
OOMK, <i>The Library Was</i>. London: Book Works, 2017.<br /><br />
<br />
Open Source Publishing (OSP). http://osp.kitchen/. <br /><br />
<br />
Osborne, Peter. "Contemporary art is post-conceptual art," lecture at the Fondazione Antonio Ratti, Como, 2010. <br /><br />
<br />
Otlet, Paul. <i>Traité de documentation</i>', Brussels: Editiones Mundaneum, 1934. br /><br />
<br />
———. <i>International organization and dissemination of knowledge: Selected essays by Paul Otlet</i>. Translated and edited by Boyd Rayward. Féderation Internationale d'Information et Documentation (FID) 684. Amsterdam: Elsevier, 1990.<br /><br />
<br />
Parmacek, Ar. "Ar’s preparing for text – Selection of some of AND’s initial questions." In <i>Boxing and Unboxing Calendar</i>, edited by Rosalie Schweiker and Eva Weinmayr. London: AND Publishing, 2018. <br /><br />
<br />
Perrault, John. "Some Thoughts on Books as Art." In <i>Artists Books</i>, edited by Diane Vanderlip, 15–21. Philadelphia, PA: Moore College of Art, 1973. <br /><br />
<br />
"Piracy and Beyond: Exploring 'Threats' in Media and Culture." Conference at the Higher School of Economics, Moscow, October 23–25, 2019. https://cmd.hse.ru/mediapiracy/. <br /><br />
<br />
"Piracy and Jurisprudence." Conference at the Faculty and Business and Law and the Humanities, University of Southampton; the Centre for Law, Ethics and Globalisation (CLEG) and the Southampton Marine and Maritime Institute, convened by Oren Ben-Dor (law), Stephanie Jones (English), Alun Gibbs (law), June 21–22, 2013.<br /><br />
<br />
Piracy Project. "The Impermanent Book." In <i>Best of Rhizome</i>, edited by Joanne McNeil, Brescia: LINK Editions, 2013. https://rhizome.org/editorial/2012/apr/19/impermanent-book/.<br /><br />
<br />
''Philadelphia Assembled'', initiated by artist Jeanne van Heeswijk and organized alongside Phoebe Bachman, Carlos Basualdo, Kirtrina Baxter, Shari Hersh, Nehad Khader, Mabel Negrete (CNS), Damon Reaves, Amanda Sroka, and Denise Valentine. 2017–. http://phlassembled.net/. <br /><br />
<br />
Posada, Alejandro, and George Chen. "Inequality in Knowledge Production: The Integration of Academic Infrastructure by Big Publishers." <i>ELPUB</i>, June 2018. https://hal.archives-ouvertes.fr/hal-01816707. <br /><br />
<br />
Printed Matter, New York. https://www.printedmatter.org/.<br /><br />
<br />
Public Collectors. http://www.publiccollectors.org. <br/><br />
<br />
Radical Open Access Collective, Centre for Postdigital Cultures, Coventry University. http://radicaloa.disruptivemedia.org.uk/. <br /><br />
<br />
"Radical Open Access – the Ethics of Care." Conference at the Centre for Postdigital Cultures, Coventry University, 2018. https://radicaloa.disruptivemedia.org.uk/conferences/roa2/. <br /><br />
<br />
Rancière, Jacques. <i>The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation</i>. Stanford: Stanford University Press, 1987. <br /><br />
<br />
Ranganathan, Shiyali Ramamrita. <i>Five Laws of Library Science.</i> Madras: The Madras Library Association, 1931. Digitized by Hathi Trust Digital Library. https://babel.hathitrust.org/cgi/pt?id=uc1.$b99721&view=2up&seq=12. <br /><br />
<br />
Rassel, Laurence. "Rethinking the art school." Interview conducted by Cornelia Sollfrank. In the context of the research project "Creating Commons", ZHdK Zurich, 2018. http://creatingcommons.zhdk.ch/rethinking-the-art-school/, podcast.<br /><br />
<br />
Rassel, Laurence, and Xavier Gorgol. "Experiments with Institutional Formats / Teaching to Transgress," presentation at HDK-Valand Academy of Art and Design, January 21, 2019.<br /><br />
<br />
Raunig, Gerald. "Transversal Multitudes." <i>Transversal</i> 9, 2002. http://eipcp.net/transversal/0303/raunig/en. <br /><br />
<br />
Read-in Collective, Utrecht. https://read-in.info/about/. <br/><br />
<br />
Redwood-Martinez, Joseph, ed. <i>An Incomplete Reader for the Ongoing Project, “One day, everything will be free… v 0.1.8"</i>. Istanbul: SALT Research; London: AND Publishing, 2012. https://web.archive.org/web/20130114114138/http://www.andpublishing.org/files/incomplete-reader-018-colour.pdf. <br/><br />
<br />
Remedes, Rhani Lee. "The SCUB Manifesto." <i>LTTR#1 – Lesbians to the Rescue</i>, 2002, 12. http://lttr.org/journal/1. <br/><br />
<br />
Research Excellence Framework 2014, UK. https://www.ref.ac.uk/2014/.<br/><br />
<br />
Rich, Kate and Femke Snelting. "Contract of research collaboration." February 2018. [http://wiki.evaweinmayr.com/images/8/88/Undisciplinedresearch.contract_Femke_Snelting_Kate_Rich.pdf PDF].<br/><br />
<br />
Riles, Annelise. <i>Documents, Artifacts of Modern Knowledge</i>. Ann Arbor: The University of Michigan Press, 2006.<br /><br />
<br />
Rose, Mark. <i>Authors and Owners, The Invention of Copyright</i>. Cambridge, MA and London: Harvard University Press, 1993.<br /><br />
<br />
Rosenwald, Michael S.. "This student put 50 million stolen research articles online. And they’re free." <i>Washington Post</i>, March 30, 2016. https://www.washingtonpost.com/local/this-student-put-50-million-stolen-research-articles-online-and-theyre-free/2016/03/30/7714ffb4-eaf7-11e5-b0fd-073d5930a7b7_story.html.<br /><br />
<br />
Roysdon, Emily, and Geha, Katie. "Interview with Emily Roysdon." <i>Glasstire</i>, November 11, 2012. https://glasstire.com/2012/11/11/interview-with-emily-roysdon/. <br /><br />
<br />
Roysdon, Emily. "Ecstatic Resistence." <i>Abstractpossible</i>, May 23, 2011. http://abstractpossible.org/2011/05/23/ecstatic-resistance/.<br /><br />
<br />
Runstedtler, Theresa. "White Anglo-Saxon Hopes and Black Americans' Atlantic Dreams: Jack Johnson and the British Boxing Colour Bar." <i>Journal of World History</i> vol. 21, no. 4 (2010): 657–89. <br /><br />
<br />
Ruscha, Ed. "Letter to John Wilcock." February 25, 1966. In the Piracy Project Collection, London: AND Publishing. <br /><br />
<br />
Samek, Tony. "Intellectual Freedom within the Profession: A Look Back at Freedom of Expression and the Alternative Library Press." <i>Library Juice</i> 6:6, 2003. http://libr.org/juice/issues/vol6/LJ_6.6.html. <br /><br />
<br />
Schaffer, Simon, and Steven Shapin. <i>Leviathan and the Air-Pump: Hobbes, Boyle, and the Experimental Life</i>. New Jersey: Princeton University Press, [1985] 2011. <br /><br />
<br />
Schmidt, Arno. <i>Zettel's Traum</i> [Bottom's Dream]. Karlsruhe: Stahlberg, 1970. <br /><br />
<br />
Schor, Naomi. "Dreaming Dissymmetry: Barthes, Foucault and Sexual Difference." In <i>Coming to Terms: Feminism, Theory, Politics</i>, edited by Elizabeth Weed, 47–58. London: Routledge, 1989. <br /><br />
<br />
Schraenen, Guy, ed. <i>Ulises Carrión, Dear reader. Don’t read.</i> Madrid: Ministry of Education, Culture and Sport, 2016. https://www.museoreinasofia.es/en/publicaciones/dear-reader-dont-read. <br /><br />
<br />
Scott, James C. <i>Weapons of the weak: Everyday forms of peasant resistance</i>. New Haven: Yale University Press, 1987. <br /><br />
<br />
———. <i>Domination and the arts of resistance: Hidden transcripts</i>. New Haven: Yale University Press, 1990.<br /><br />
<br />
———. "Infrapolitics and Mobilizations: A Response by <br />
James C. Scott." <i> Revue française d’études américaines</i>, no. 131 (January 2012): 112–17.<br /><br />
<br />
Senior, David. "Infinite Hospitality." In <i>Every Day the Urge Grows Stronger to Get Hold of an Object at Very Close Range by Way of Its Likeness</i>. New York: Dexter Sinister, The Art Libraries Society, 2008. http://www.dextersinister.org/MEDIA/PDF/InfiniteHospitality.pdf. <br /><br />
<br />
"Shadow Libraries – Ubuweb in Athens.” Symposium, March 16–18, 2018, convened by Ilan Manouach, and Kenneth Goldsmith. https://www.onassis.org/whats-on/shadow-libraries-ubuweb-athens/. <br /><br />
<br />
Stadler, Matthew. "What is a publication studio?". A talk for <i>Musagetes</i>, Guelph, Ontario, June 6, 2012. https://musagetes.ca/document/what-is-a-publication-studio/. <br/><br />
<br />
Swartz, Aaron. "Guerilla Open Access Manifesto." 2008. https://archive.org/stream/GuerillaOpenAccessManifesto/Goamjuly2008_djvu.txt. <br /><br />
<br />
Shadowsistxrs Fightclub. https://www.instagram.com/shadowsistxrs_fightclub/. <br /><br />
<br />
Shukaitis, Stevphen. "Toward an Insurrection of the Published? Ten Thoughts on Ticks & Comrades." <i>eicp transversal</i>, June 2014. https://transversal.at/transversal/0614/shukaitis/en. <br /><br />
<br />
Skeat, Walter W. <i>Oxford Concise Dictionary of English Etymology</i>. 1882. Reprint, London: Forgotten Books, 2013.<br /><br />
<br />
Snelting, Femke and SpiderAlex. "Forms of Ongoingness." Interview conducted by Cornelia Sollfrank, Basel, September 16, 2018. In the context of the research project "Creating Commons" by Felix Stalder Cornelia Sollfrank, Shusha Niederberger, at ZhDK Zurich, 2016–19. http://creatingcommons.zhdk.ch/forms-of-ongoingness/, podcast. <br /><br />
<br />
Snelting, Femke. "Performing Graphic Design Practice". Interview conducted by Cornelia Sollfrank, Leipzig, 7 April 2014. In the context of the research project "Giving what you don't have", Lüneburg, Leuphana University, 2014. http://artwarez.org/projects/GWYDH/snelting.html, podcast. <br /><br />
<br />
Sollfrank, Cornelia. "Giving what you don’t have". Research Project at the Postmedialab, Leuphana University, Lüneburg, 2012. http://artwarez.org/projects/GWYDH/. <br /><br />
<br />
Solstar. https://solstarsports.org/. <br /><br />
<br />
Spade, Dean. <i>Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law</i>. Durham, NC: Duke University Press Books, 2015. <br /><br />
<br />
Spelman, Elizabeth V. <i>Inessential Woman: Problems of Exclusion in Feminist Thought</i>. Boston: Beacon Press, 1988. <br /><br />
<br />
Spivak, Gayatri Chakravorty. <i>Death of a Discipline</i>. New York and Chichester, West Sussex: Columbia University Press, 2003. <br /><br />
<br />
———. <i>Outside in the Teaching Machine</i>. London: Routledge, 1993. <br /><br />
<br />
———. "Can the Subaltern Speak?." In <i>Marxism and the Interpretation of Culture</i>, edited by Cary Nelson and Lawrence Grossberg, 271–313. Urbana: University of Illinois Press, 1988. <br /><br />
<br />
———. <i>An Aesthetic Education in the Era of Globalization</i>. Cambridge: Harvard University Press, 2012.<br /><br />
<br />
Springer, Anna-Sophie, and Etienne Turpin, eds. <i>Fantasies of the Library</i>. Berlin: K. Verlag and Haus der Kulturen der Welt, 2015. https://k-verlag.org/books/intercalations1/. <br /><br />
<br />
Stalder, Felix, Susha Niederberger, Cornelia Sollfrank. "Creating Commons", Institute for Contemporary Art Research, University of the Arts Zurich, 2017–19. http://creatingcommons.zhdk.ch/. <br /><br />
<br />
Stallman, Richard. "GNU Manifesto". 1985. https://www.gnu.org/gnu/manifesto.en.html. <br /><br />
<br />
Sternfeld, Nora. "Para-Museum of 100 Days: documenta between Event and Institution." <i>On Curating</i>, issue 33, 2017. https://www.on-curating.org/files/oc/dateiverwaltung/issue-33/pdf/Oncurating_Issue33.pdf. <br /><br />
<br />
———. "Negotiating Reality: Artistic and Curatorial Research." Presentation at "Sonic Acts Academy", Amsterdam, February 23, 2018. https://re-imagine-europe.eu/resources_item/negotiating-with-reality-artistic-and-curatorial-research/, podcast. <br /><br />
<br />
Strathern, Marilyn. <i>Audit Cultures, Anthropological studies in accountability, ethics and the academy</i>. London, and New York: Routledge, 2000. <br /><br />
<br />
———. <i>Kinship, Law, and the Unexpected: Relatives Are Always a Surprise</i>. Cambridge: Cambridge University Press, 2005. <br /><br />
<br />
———. <i>The Gender of the Gift, Problems with Women and Problems with Society in Melanesia</i>. Berkeley: University of California Press, 1988. <br /><br />
<br />
Students and staff of Hornsey College of Art. <i>The Hornsey Affair</i>. London: Penguin Education Special, 1969. <br /><br />
<br />
Sullivan, Doreen. "A Brief History of Homophobia in Dewey Decimal Classification." <i>Overland</i>, 2015. https://overland.org.au/2015/07/a-brief-history-of-homophobia-in-dewey-decimal-classification/. <br /><br />
<br />
<i>Synergy Magazine, Index for 1967–71</i>, San Francisco: Bay Area Reference Center, 1972. [http://wiki.evaweinmayr.com/images/c/c3/Synergy_Index_1972.pdf PDF]<br /><br />
<br />
Tarde, Gabriel. <i>The Laws of Imitation</i>. New York: Henry Holt and Company, 1903.<br /><br />
<br />
Teaching to Transgress Toolbox. http://www.ttttoolbox.net/. <br /><br />
<br />
Temporary Services, eds. <i>What problems can artist publishers solve?</i>. Chicago: Half Letter Press; Rotterdam: PrintRoom, 2018. <br /><br />
<br />
The Library Bureau. <i>Classified Illustrated Catalog of the Library Bureau, A Handbook of Library and Office, Fittings and Supplies</i>. Boston, 1890. https://archive.org/details/classifiedillus06buregoog/mode/2up. <br /><br />
<br />
Thoburn, Nicholas. <i>Anti-book, On the Art and Politics of Radical Publishing</i>. Minneapolis: University of Minnesota Press, 2016. <br /><br />
<br />
Thornton, Edward. "Thinking and Writing Together: Institutional Pedagogy and Félix Guattari". Preprint, <i>Academia</i>, 2019.<br />
https://www.academia.edu/38283359/Thinking_and_Writing_Together_Institutional_Pedagogy_and_Fe_lix_Guattari. <br /><br />
<br />
Tourney, Michele M. "Caging Virtual Antelopes: Suzanne Briet’s Definition of Documents in the Context of The Digital Age." <i>Archival Science</i> 3 (2003): 291–311.<br /><br />
<br />
Transmediale, "Affective Infrastructures", Berlin, 2019. https://transmediale.de/content/study-circle-affective-infrastructures. <br /><br />
<br />
Triaille, J.-P., S. Dusollier, S. Depreeuw, J.-B. Hubin. F. Coppens, and A. de Francquen. "Infosoc Directive – Study on the application of Directive 2001/29/EC on copyright and related rights in the information society." Brussels: European Union, 2013.<br /><br />
<br />
Tuhiwai Smith, Linda. <i>Decolonizing Methodologies, Research and Indigenous Peoples</i>. London: Zed Books, 1999. [https://brb.memoryoftheworld.org/Linda%20Tuhiwai%20Smith/Decolonizing%20Methodologies_%20Research%20and%20Indigenous%20Peoples%20(8641)/Decolonizing%20Methodologies_%20Research%20and%20I%20-%20Linda%20Tuhiwai%20Smith.pdf PDF]. <br /><br />
<br />
United Voices of the World Union. https://www.uvwunion.org.uk/. <br /><br />
<br />
Van Mourik Broekman, P., G. Hall, T. Byfield, S. Hides, and S. Worthington. <i>Open education: A study in disruption</i>. London: Rowman & Littlefield International, 2014. https://curve.coventry.ac.uk/open/file/c04530ce-d16a-46ca-b359-a905195a76cb/1/Open%20education.pdf. <br /><br />
<br />
Vanuxem, Sarah. <i>La Propriété de la terre </i>. Marseille: Wildproject, 2018. <br/><br />
<br />
Warner, Michael. "Publics and Counterpublics" <i>Quarterly Journal of Speech</i> vol. 88, no. 4, (November 2002): 413–25.<br/><br />
<br />
Weber, Max. "Bureaucracy." <i>On Charisma and Institution Building</i>. Chicago: Chicago University Press, 1968.<br /><br />
<br />
Wedgwood, Hensleigh. <i>English Etymology</i>. London: Trübner & Co, 1872.<br /><br />
<br />
Weinberger, David. "Library as Platform." <i>Library Journal</i>, September 4, 2012. https://www.libraryjournal.com/?detailStory=by-david-weinberger. <br /><br />
<br />
Weinmayr, Eva. "Library Underground – A reading list for a coming community." In <i>Publishing as Artistic Practice</i>, edited by Annette Gilbert, 157–187. Berlin and New York: Sternberg Press, 2016. [http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf PDF].<br /><br />
<br />
———. "Print." In <i>Der Fahrende Raum – ein Aktionsraum in Freimann</i>, edited by Maximiliane Baumgartner and Mirja Reuter. Munich: Kultur & Spielraum e.V., 2015. http://www.fahrender-raum.de/wp-content/uploads/Flugschrift_1.pdf. <br /><br />
<br />
———. "Confronting Authorship, Constructing Practices – How copyright destroys collective practice." In <i>Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity</i>, edited by Janis Jefferies and Sarah Kember, 267–307. Cambridge: Open Book Publishers, 2019. https://www.openbookpublishers.com/product/925. <br /><br />
<br />
———. "One publishes to find comrades." In <i>The Visual Event, an education in appearances</i>, edited by Oliver Klimpel, 50–59. Leipzig: Spector Books, 2014.<br /><br />
<br />
Wellmon, Chad and Andrew Piper. "Publication, Power, Patronage: On Inequality and Academic Publishing." <i>Critical Inquiry</i>, July 21, 2017. https://criticalinquiry.uchicago.edu/publication_power_and_patronage_on_inequality_and_academic_publishing/. <br /><br />
<br />
West, Celeste, and Wolf Milton. "Conversation with Celeste West." <i>Libraries for Social Change: Women’s Issue</i>, 31/32 (1983) 29–35. <br /><br />
<br />
West, Celeste, and Elizabeth Katz, eds. <i>Revolting Librarians</i>. San Francisco: Booklegger Press, 1972.<br /><br />
<br />
Wiegand, Wayne A. "The ‘Amherst Method’: The Origins of the Dewey Decimal Classification Scheme." <i>Libraries & Culture</i> 33:2 (spring 1998): 175–94.<br /><br />
<br />
Wheeler, Stanton, ed. <i>On Record: Files and Dossiers in American Life</i>. New York: Russell Sage Foundation, 1969.<br /><br />
<br />
White, Tony. "The (r)evolutionary artist book." <i>Book 2.0</i>, vol. 3, no. 2, (December 2013): 163–83. <br /><br />
<br />
Woodmansee, Martha, and Peter Jaszi, eds. <i>The Construction of Authorship, Textual Appropriation in Law and Literature</i>. Durham, NC, and London: Duke University Press, 1994.<br /><br />
<br />
X Marks the Bökship. http://bokship.org/.<br /><br />
<br />
Xu, Bea. "Shadow Sistxrs: how I’m learning to protect my own soul". <i>gal–dem</i>, September 5, 2017. http://gal-dem.com/shadow-sistxrs-learning-protect-soul/. <br /><br />
<br />
Yes Men, ''New York Times Hoax – The Yes Men Fix The World''. https://www.youtube.com/watch?v=YoZQNgAnvqs. <br /><br />
<br />
Zehle, Soenke, Simon Worthington, Peter Cornwell, and Pauline van Mourik Broekman. "Archive Architectures." <i>Network Ecologies</i>. Scalar, Franklin Humanities Institute, Durham, Duke University, 2016. http://scalar.usc.edu/works/network-ecologies/archive-architectures. <br /><br />
<br />
Zett, Anna. "Theory of Everything (Circuit Training)". https://www.youtube.com/watch?v=N4NSM4aBnc0. <br /></div>Evahttp://wiki.evaweinmayr.com/index.php?title=1_Contents&diff=116061 Contents2020-10-13T08:29:48Z<p>Eva: </p>
<hr />
<div><p style="font-family:'Georgia'"><b>Contents (short)</b></p><br />
<br />
* [[Main_Page | About this wiki]]<br />
* [[2_Setting | Setting]]<br />
* [[3_Survey_of_the_field| Survey of the field]]<br />
* [[4_Summary_of_projects_and_submitted_material | Summary of projects and submitted material]]<br />
* [[5_Reflection,_theorization_of_projects| Reflection, theorization of projects]]<br />
* [[6 Analysis: Micro-politics of Publishing | Analysis: Micro-politics of Publishing]]<br />
* [[7_References|References]]<br />
<br/><br />
[[File:Rosalie scroll 3.png|240px|left]]<br clear=all><br />
<p style="font-family:'Georgia'"><b>Contents (extended)</b></p><br />
* [[Main_Page | About this wiki]]<br />
* [[2_Setting | Setting]]<br />
** [[2_Setting#Multiple_sites | Multiple Sites]]<br />
** [[2_Setting#More_verb.2C_less_noun:_the_practices |The Practices]]<br />
** [[2_Setting#Authorship.2C_authorization.2C_authority:_the_questions |The Questions]]<br />
** [[2_Setting#.22Thinking_with.22:_the_format |The Format]]<br />
** [[2_Setting#Roadmap|The Roadmap]]<br />
** [[2_Setting#Notes_.28Setting.29|Notes (Setting)]]<br />
* [[3_Survey_of_the_field| Survey of the field]]<br />
** [[3_Survey_of_the_field#Setting_up_alternative_infrastructures | Setting up alternative infrastructures]]<br />
***[[3_Survey_of_the_field#Early_conceptual_artist_books:_Setting_up_infrastructures_of_production_and_distribution_.28the_60s_and_70s.29|Early conceptual artist books]]<br />
*** [[3_Survey_of_the_field#Descriptors_and_their_discontents:_artist_book.2C_artist.27s_publishing| Descriptors and their discontents]]<br />
***[[3_Survey_of_the_field#Counter-cultural_alternative_media_.E2.80.93_Radical_Printshops_.2870s.2C_80s.2C_UK.29|Counter-cultural alternative media]]<br />
***[[3_Survey_of_the_field#Open_Source:_Feminist_technologies:_Constant_.28Brussels.29| Open Source: feminist technologies]]<br />
**[[3_Survey_of_the_field#Interventionist_strategies_.E2.80.9CInsertions_into_Ideological_Circuits.E2.80.9D | Interventionist Strategies ]]<br />
**[[3_Survey_of_the_field#Library_as_Infrastructure|Library as Infrastructure]]<br />
** [[3_Survey_of_the_field#Radical_Librarianship_.E2.80.93_.22extitutional.22:_Questions_of_access_and_validation| Radical Librarianship – "extitutional"]]<br />
*** [[3_Survey_of_the_field#An_artwork:_.22Martha_Rosler_Library.22_.282007.29|An artwork: Martha Rosler Library]]<br />
*** [[3_Survey_of_the_field#A_network_of_relationships:_Infoshops_.281990s_UK.29| A network of relationships: Infoshops]]<br />
*** [[3_Survey_of_the_field#Shadow_Libraries | Shadow Libraries]]<br />
** [[3_Survey_of_the_field#Radical_Librarianship_.E2.80.93_.22institutional.22:_Questions_of_organization_and_classification| Radical Librarianship – "institutional"]]<br />
*** [[3_Survey_of_the_field#Prejudices and Antipathies | Prejudices and Antipathies]]<br />
*** [[3_Survey_of_the_field#KvinnSam, the National Resource Library for Gender Studies at Gothenburg University | KvinnSam, the National Resource Library for Gender Studies, Gothenburg University]]<br />
*** [[3_Survey_of_the_field#Feminist_Search_Tool | Feminist Search Tool, Utrecht University Library]]<br />
*** [[3_Survey_of_the_field#Infrastructural_Manoevres.2C_Rietveld_Library_Amsterdam | Infrastructural Manoevres, Rietveld and Sandberg Library, Amsterdam]]<br />
*** [[3_Survey_of_the_field#Teaching the Radical Catalog | Teaching The Radical Catalog]]<br />
*** [[3_Survey_of_the_field#Performative_Propositions:_Policy_Document_at_ERG | Performative Propositions: Policy Document at erg, Brussels]]<br />
** [[3_Survey_of_the_field#What's next | What's next]]<br />
** [[3_Survey_of_the_field#Notes: Survey of the field| Notes (Survey of the field)]]<br />
* [[4_Summary_of_projects_and_submitted_material | Summary of projects and submitted material]]<br />
** [[4_Summary_of_projects_and_submitted_material#Projects | Projects]]<br />
***[[Project_1_*_AND_Publishing| *AND Publishing]]<br />
***[[Project_2_*_Library_of_Inclusions_and_Omissions| *Library of Inclusions and Omissions]]<br />
***[[Project_3_*_The_Piracy_Project| *Piracy Project]]<br />
***[[Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F| *Let's Mobilize: What is Feminist Pedagogy?]]<br />
***[[Project_5_*_Boxing_and_Unboxing| *Boxing and Unboxing]]<br />
** [[4_Summary_of_projects_and_submitted_material#Published_.28Fixed.29 | Published (Fixed)]]<br />
** [[4_Summary_of_projects_and_submitted_material#Discursive_.E2.80.93_teaching.2C_workshops.2C_presentations.2C_discussions.2C_think-ins_.28Unfixed.29 | Discursive (Unfixed)]]<br />
*[[5_Reflection,_theorization_of_projects| Reflection, theorization of projects]]<br />
** [[5_Reflection,_theorization_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 />
*** [[5_Reflection,_theorization_of_projects#Library_of_Inclusions_and_Omissions_.E2.80.93_radical_publishing_practices_require_radical_librarianship|Which narratives enter?]]<br />
*** [[5_Reflection,_theorization_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality| Perspectives and framing under the disguise of neutrality]]<br />
*** [[5_Reflection,_theorization_of_projects#Library_as_disciplinary_institution | Library as disciplinary institution]]<br />
*** [[5_Reflection,_theorization_of_projects#Classification_.E2.80.93_a_hierarchical_architecture_to_house_the_universe_of_knowledge | Classification — an architecture to house the universe of knowledge]]<br />
*** [[5_Reflection,_theorization_of_projects#Sameness_and_Difference | Sameness and Difference]]<br />
** [[5_Reflection,_theorization_of_projects#The_Piracy_Project | The Piracy Project]]<br />
*** [[5_Reflection,_theorization_of_projects#Queering_the_authority_of_the_printed_book | Queering the authority of the printed book]]<br />
*** [[5_Reflection,_theorization_of_projects#Who_has_the_right_to_be_an_author:_Copyright_and_IP | Who has the right to be an author: copyright and IP]]<br />
*** [[5_Reflection,_theorization_of_projects#Unsolicited_Collaborations:_queering_the_authorial_voice| Unsolicited Collaborations: queering the authorial voice]]<br />
*** [[5_Reflection,_theorization_of_projects#The_social_agency_of_piracy | The social agency of piracy]]<br />
*** [[5_Reflection,_theorization_of_projects#The_limits_of_framing_and_exhibiting| The limits of framing and exhibiting]]<br />
*** [[5_Reflection,_theorization_of_projects#Why_we_decided_to_end_the_project| Why we decided to end the project]]<br />
** [[5_Reflection,_theorization_of_projects#Let.27s_Mobilize:_What_is_Feminist_Pedagogy.3F_.E2.80.93_Institutional_Pedagogy| Let's Mobilize: What is Feminist Pedagogy?]]<br />
*** [[5_Reflection,_theorization_of_projects#The_event:_.22un-authored.22_practices_of_feminist_organizing_and_changing_institutional_habits| The "un-authored" practices of feminist organizing and changing institutional habits]]<br />
**** [[5_Reflection,_theorization_of_projects#The_administrator_as_co-author| The administrators as co-authors]]<br />
**** [[5_Reflection,_theorization_of_projects#Collectivity:_Desires_and_Complications | Collectivity: Desires and Complications]]<br />
*** [[5_Reflection,_theorization_of_projects#Questions_of_efficiency_and_unmeasurable_labor | Questions of efficiency and unmeasurable labor]]<br />
*** [[5_Reflection,_theorization_of_projects#The_Workbook:_contingent.2C_contextual_publishing| The workbook: contingent, contextual publishing]]<br />
**** [[5_Reflection,_theorization_of_projects#The_editorial_process| The editorial process]]<br />
**** [[5_Reflection,_theorization_of_projects#Public_Assembling_Day:_Distribution_as_social_encounter| Public assembling day: Distribution as social encounter]]<br />
****[[5_Reflection,_theorization_of_projects#Walkable_Book:_Situated_publishing| Walkable Book: situated publishing]]<br />
***[[5_Reflection,_theorization_of_projects#Workbook_and_event:_an_.22institutional_object.22| Workbook and event: an institutional object]]<br />
***[[5_Reflection,_theorization_of_projects#Wrap_Up_3| Wrap up]]<br />
** [[5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization| Boxing and Unboxing]]<br />
*** [[5_Reflection,_theorization_of_projects#Boxing_Club_.E2.80.93_Sparring | Boxing Club – Sparring]]<br />
*** [[5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_community.2C_immunity_and_the_figure_of_the_.22proper.22| Community, immunity and the figure of the "proper"]]<br />
** [[5_Reflection,_theorization_of_projects#What.27s_next| What's next]]<br />
** [[5_Reflection,_theorization_of_projects#Notes_.28Reflection.2C_theorization_of_projects.29| Notes (Reflection, theorization of projects)]]<br />
* [[6 Analysis: Micro-politics of Publishing | Analysis: Micro-politics of Publishing]]<br />
**[[6 Analysis: Micro-politics of Publishing#Collectivity| Collectivity]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Naming| Politics of naming]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Fixing| Politics of fixing]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Mediating:_the_prop.2C_the_third_object.2C_and_institutional_pedagogy| Politics of Mediating: institutional pedagogy ]]<br />
** [[6 Analysis: Micro-politics of Publishing#Politics_of_Citing | Politics of citing ]]<br />
** [[6 Analysis: Micro-politics of Publishing#How_could_we_imagine_authorship_without_ownership.3F | How could we understand authorship without ownership ]]<br />
*** [[6 Analysis: Micro-politics of Publishing#It_doesn.27t_matter_who_is_speaking | It doesn't matter who is speaking]]<br />
***[[6 Analysis: Micro-politics of Publishing#It_does_matter_who_is_speaking:_a_feminist.2C_decolonial_perspective | It does matter who is speaking: a feminist, de-colonial perspective]]<br />
** [[6 Analysis: Micro-politics of Publishing#A_more_flexible_idea_of_authorship_altogether:_from_.22output.22_to_.22input.22:_contingent.2C_contextual | A altogether more flexible idea of authorship: From Output to Input]]<br />
**[[6 Analysis: Micro-politics of Publishing#Milieu:_Compost._Feeding.2C_digesting.2C_excreting | Compost: feeding, digesting, excreting]]<br />
** [[6 Analysis: Micro-politics of Publishing#Authorship.2C_authorization.2C_authority:_remarks_on_the_collaborative_wiki | Authorship, authorization, authority: remarks on the collaborative wiki]]<br />
** [[6 Analysis: Micro-politics of Publishing#Notes_.28Analysis.29 | Notes (Analysis)]]<br />
* [[7_References|References]]<br />
* [[8 My integrated circuit| My integrated circuit]]<br />
* [[Appendix_1*Let%27s_Mobilize_Revisited|Appendix 1*Let's Mobilize Revisted]]<br />
* [[Appendix 2*Interview with Femke Snelting|Appendix 2*Interview with Femke Snelting (Constant)]]<br />
* [[Appendix_3*Rosalie%27s_visual_comments|Appendix 3*Rosalie's Visual Comments]]<br />
* [[Svensk abstract| Svensk abstract]]<br />
* [[Svensk sammanfattning|Svensk sammanfattning]]<br />
* [[ArtMonitor|ArtMonitor]]</div>Evahttp://wiki.evaweinmayr.com/index.php?title=2_Setting&diff=116052 Setting2020-10-13T08:21:50Z<p>Eva: /* Roadmap */</p>
<hr />
<div><br />
==Multiple sites==<br />
<br />
This wiki provides an overview of a doctoral research project, entitled "Noun to Verb: an investigation of the micro-politics of publishing through artistic practice." The project explores the social and political agency of publishing, investigating the micro-politics of making, articulating, and sharing knowledges from an intersectional feminist perspective. <br />
<br />
In practical terms, the research process comprises (i) a range of activities, (art-making, workshopping, publishing, editorial work, collaborative practices, conferencing, organizing, pedagogical interventions, discursive events, etc.) and (ii) a range of "stabilizations" (publications, chapters, essays, posters, ephemera, archives, reading rooms, exhibitions, etc.). Both (i) and (ii) are developed collaboratively.<br />
<br />
Publishing may be understood as a means of sharing, of disclosing, of passing on, or as an act of 'making public' that includes texts, images, ideas, and what we may summarily call "knowledges". Publishing may also be understood as a temporary stabilization of knowledge, fixing the act of making-public into a material and mobile form (paper, ink, screen, code) – fixing it into an object. As an object, detached from the makers (person), moment (time) and ecologies (context) of its production, a publication can circulate and spread across regions, contexts, and epochs – in Florian Cramer's (2012) words, "the idea of the book is one that can be read in one, five, and one hundred years' time." It develops a social and intellectual life of its own. <br />
<br />
While publication can enable the one to speak to the many, and as such be seen as a mode of address that constructs patterns of dominance, the act of publication can also be seen as a tool to give voice and recognition to bodies and experiences that are not yet acknowledged, articulated or prioritized within the range of existing knowledges.<ref name= "knowledge"/><br />
Therefore publication can be seen as a process that invites both assent and dissent, and that produces countervailing views and alternative readings, something that has fueled much debate on "the public sphere."<ref name= "public sphere"/>{{annotation|Footnote}} Such themes have been widely discussed in relation to the rise of European print culture (Eisenstein, 1982; Johns, 1998), but these debates are not the main focus here. Instead, the present research specifically addresses the micro-politics of publishing practices at the intersection of contemporary art, radical education, and institutional analysis.<ref name="contemporary art"/> Furthermore, publishing practices are not exclusively considered here in terms of print culture, but rather are understood as part of a wider multiplicity of modes and formats that operate as "stabilizations" of knowledges, as indicated above. <br />
<br />
I use the word "knowledges" in plural to problematize the idea of singular, disembodied and universal knowledge that is associated with modern Western epistemologies.<ref name="Modern Project"/> Knowledges in this inquiry are understood in Donna Haraway's sense as "ruled by partial sight and limited voice – not partiality for its own sake but, rather, for the sake of the connections and unexpected openings situated knowledges make possible." (Haraway 1988, 590). Therefore knowledges in my view are fundamentally contingent and interactive. "Situated knowledges are about communities, not about isolated individuals. The only way to find a larger vision is to be somewhere in particular." (Haraway 1988, 590). To be somewhere in particular means also to be response-able. Here, knowing is understood as a fundamental relational act. Take the "streetwalker theorist" invoked by Maria Lugones, for example, who "cultivates a multiplicity and depth of perception and connection and 'hangs out'." The streetwalker theorist's "knowing is necessarily dialogical; it does not lie in her". (Lugones, 2003, chapter 10 “Tactical Strategies of the Streetwalker”, "Streetwalker Theorizing").<ref name= "Lugones Pilgrimages 648"/><br />
<br />
The emphasis here is on a dialogical process – "knowing with". The use of the verb "knowing", an active form, stands in contrast to "knowledge", an objectifying noun implying that knowledge can be appropriated and owned. In this sense, "knowing with" (rather than "having knowledge" or "knowing about") runs counter to the prevailing Western assumptions of authorship and ownership<ref name= "Santos Cognitive page 54"/> that I discuss in the book chapter "Confronting Authorship, Constructing Practices" (Weinmayr 2019). The "knowing with" is foregrounding knowledge as a "situated conversation at every level of its articulation" (Haraway 1988, 594) as I will argue throughout this research project – including, but not limited to, articulations in the form of publishing. <br />
<br />
Of course, publishing practices extend far beyond the printed page. A core concern of this inquiry is to expand and test the normative criteria of what constitutes a publication. One question that emerged was whether publishing may be seen as a verb, a process, rather than a noun (i.e. the finished object) – analogous to the above distinction between "knowing" and "knowledge". Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Networked digital media technologies also replace "the fixity and the static (and, by implication, limiting) linearity of print by adding multimedia features, interactivity, hyperstructure and virtually limitless possibilities for non-verbal, interactive, reading and communication for the reader" (Mangen 2012). It is the "unbound" character of the digital that unsettles "conceptual systems founded upon ideas of center, margin, hierarchy, and linearity and replaces them with ones of multi-linearity, modes, links, and networks." (Landow 1992, 2). The unbound is a moment of recapitulation, and, according to George Landow (1992, 3), "a direct response to the strengths and weaknesses of the printed book." And Gary Hall (2016, 158) notes that the defamiliarizing effects of these new conceptions <br />
::offer us a chance to raise the kind of questions regarding our ideas of the book (but also of the unified, sovereign, proprietorial subject; the individualized author, the signature, the proper name; originality, fixity, the finished object; the canon, the discipline, tradition, intellectual property; the Commons, community, and so on), we should have been raising all along. <br />
<br />
Whether "bound" or "unbound," there has been much discussion of the political agency of the book, and it is often assumed that the book's political potential extends only as far as its 'content'. Yet what is of interest in the present inquiry is the book's capacity as a conceptual and material means to practically intervene, disrupt, and change existing systems of production, distribution, and consumption of knowledge. (Adema and Hall, 2014; Thoburn, 2014; Constant, ongoing)<ref name="Constant ongoing"/><br />
<br />
This inquiry is grounded in my individual and collective publishing practice, which has been a long-term part of my work as an artist. Publication became a main mode of my practice early on: perhaps because as a student I spent a significant part of my studies working next to the photocopy machines in the art academy; and perhaps because through publishing it appeared that I could shape the terms and conditions of production and distribution and could act without the authorization of galleries, curators, collectors, etc.<ref name=" Printed Matter"/> <br />
However, while this research is embedded in my long-term artistic practice using the form of publication as a carrier for ideas,<ref name= "my publications"/> this inquiry is not focusing on artists' books in particular. The descriptor "artists' books" is too narrow, in limiting the investigation to publications made by artists. The questions I will ask are more fundamental: directed towards the processes and agencies of publishing that operate across disciplines and fields, rather than limiting these to the specific commodity genre of the artists' book.<br />
<br />
Take, for example, the early conceptual artists' books in the context of the 1960s and 1970s in the US. They have been described as "a means of democratizing and subverting existing institutions by distributing an increasingly cheap and accessible medium (the book) [...] in order to reimagine what art is and how it can be accessed and viewed." (Adema and Hall 2013, 140). As such they expanded the limits of what was commonly perceived (and traded) as art, and they challenged existing hierarchies and institutions.{{Interlink|3_Survey_of_the_field#Setting_up_alternative_infrastructures|see chapter 03*Survey of the field: Setting up alternative infrastructures}} My understanding is that the critical agency of the artist’s book, as elaborated in this initial phase of experimentation, has become watered down over the years – the making of "artists' books" has become a mainstream artistic practice and market. This is evidenced by hundreds of newly emerging artist book fairs across the globe, sometimes hosted by the most prestigious mainstream museums, such as MoMA PS1 in New York, or Tate Modern and Whitechapel Gallery in London. Florian Cramer (2012) provocatively declares that artists' books today tend to be "a genre of graphic design." In printed form, "they strive to become coffee table books, often with warm, fuzzy and unbound characteristics," and therefore turn into "boutique collectibles for rich people."<br />
<br />
In the field of open-source and free software, and feminist approaches in particular – exemplified by Constant, a feminist technology collective based in Brussels – we observe a very different critical energy. As Femke Snelting (2014) argues, software is a cultural object: <br />
::Free Software culture takes care of sharing the recipes of how this technology (in a cultural sense, not a technocentric) has been developed. [...] And this produces many different other tools, ways of working, ways of speaking, vocabularies, because it changes radically the way we make and the way we produce hierarchies. So that means, if you produce a graphic design artifact, for example, you share all the source files that were necessary to make it. But you also share, as much as you can, descriptions and narrations of how it came to be, which does include, maybe, how much was paid for it, what difficulties were in negotiating with the printer, what elements were included, [...] what software was used to make it and where it might have resisted. [...] You care about all these different layers of the work, all the different conditions that actually make the work happen. <br />
Free software culture, therefore, investigates how technologies and their protocols disrupt economies of authorship and ownership, and implicitly redefines the hierarchies and enclosures that are embedded in more mainstream publishing practices. <br />
<br />
This is also true of certain emerging tendencies within academic publishing, where new material conditions of book production, organization and consumption allow for experiments with forms and concepts of scholarly publishing.<ref name= "variability monograph"/> Here digital publishing and open access place in question, in Janneke Adema's words, "the very print-based system of scholarly communication – complete with its ideas of quality, stability, and authority – on which so much of the academic institution rests." (Adema and Hall 2013, 139). Open access policies, which demand that publicly funded research must be made freely available, are based on the argument that the public has already funded the research which should be consequently be made publicly available at no cost. Yet the implementation of these policies may also carry the threat of corporate take-over. In many cases commercial academic presses have merely shifted the costs from the reader (who would previously be required to pay for articles directly) back to the author, researcher, or their institution. By imposing "author or article processing charges" (APC),<ref name=" open access models"/> academic presses maintain their income-generating model, thereby creating a range of new enclosures and inequalities that are discussed in more detail in the interview "Thinking where the thinking happens" with the director of Goldsmiths Press Sarah Kember.{{Interlink|4_Summary_of_projects_and_submitted_material#Rethinking_where_the_thinking_happens_.28public_interview.29|see chapter 04*Summary of projects and submitted material: Rethinking where the thinking happens, interview with Sarah Kember}}<br />
<br />
Universities and academic activists have addressed the "exorbitant, unaffordable and unsustainable publishing fees" charged by many scholarly journals by campaigning for "new forms of communality, designed to support the building of commons-based open access publishing infrastructures, and promote a more diverse, not-for-profit ecosystem of scholarly communication." (Adema 2018)<ref name= "Radical Open Access"/> Gary Hall laid some strategies out in his "Inhumanist Manifesto"<ref name=" Inhumanist Manifesto"/> and Mayfly Books have summed up the current situation up as follows:<br />
::it seems today that scholarly publishing is drawn in two directions: On the one hand, this is a time of the most exciting theoretical, political and artistic projects that respond to and seek to move beyond global administered society. On the other hand, the publishing industries are vying for total control of the ever-lucrative arena of scholarly publication, creating a situation in which the means of distribution of books grounded in research and in radical interrogation of the present are increasingly restricted.<ref name="mayflybooks"/><br />
<br />
This brief mapping of developments in different fields of publishing practice also reflects the fact that my practice is situated across art, academia, and activism. The five projects I will present, typically of a long term and collaborative nature, each explore a range of specific questions in a way that is layered and complex. They are not discrete single-issue, single-question experiments but rather complex tangles of issues unfolding in real-world situations and "live" fields of operation. They often developed as responses to specific situations and to emergent problems or questions in concrete locations. As such, they don't intend to operate as works "about politics." Instead, these projects aim at finding operational models to work counter-politically – through the actual practice itself.<ref name="counter-politically"/> 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/><br />
<br/><br />
<br/><br />
<br />
==More verb, less noun: the practices==<br />
<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2*Library of Inclusions and Omissions}}<br />
The <b>Library of Inclusions and Omissions</b> (2016) is a practice-based experiment in critical knowledge infrastructures. Setting up a community-run reading room around intersectional feminist and decolonial materials, the project explores the politics (potentials and limitations) of libraries, online and physical, for accessing, activating, and disseminating knowledge. Defining the library as a knowledge infrastructure (Mattern, 2014), the project tests dominant policies of validation (access) and classification (organization). Furthermore, it investigates the difference between a community-run resource such as this and more institutional libraries, in terms of their selection and validation processes. With the Library of Inclusions and Omissions, I seek to develop a curatorial concept to give voice to hidden, suppressed, or unacknowledged materials and struggles. In what ways could such a curatorial strategy thereby turn the library from a repository of knowledge (Samek 2003, Springer 2015) into a space of social and intellectual encounter and action? Can such a library project help build a community or connect different communities?<br />
<br/><br/><br />
{{Interlink|Project_3_*_The_Piracy_Project|see project 3*The Piracy Project}}<br />
The <b>Piracy Project</b> (2010–15), based in London, is a long-term collaboration with Peruvian artist Andrea Francke. It explores dominant understandings of authorship, originality, and the implications of intellectual property and copyright policies for knowledge practices. Through an open call for pirated books and our research into 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. Through temporary reading rooms, workshops, lectures, discussions, and debates, The Piracy Project explores the philosophical, legal, and social implications of cultural piracy. In this project, Andrea and I examine the ways in which the pirated, modified, emulated books in the collection transgress normative concepts of authorization, challenging the idea of individual authorship and the assumed authority of the printed book. In the theorization of this project, I will show how the project's unauthorized interventions into "stable" and authoritative knowledge reveal and undo the reciprocity between authorship, originality and intellectual property – a triangulation that, as I will demonstrate, constitutes one of the main blockages for collective knowledge practices.<br />
<br/><br/><br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|see project 4*Let's Mobilize: What is Feminist Pedagogy?}}<br />
<b>Let's Mobilize: What is Feminist Pedagogy?</b> (2015–16) is a collective investigation into intersectional feminist pedagogies, that led to (i) the organization of a three-day international mobilization at HDK-Valand Academy of Art and Design (at the time Valand Art Academy), University of Gothenburg<ref name="Valand change of name" /> and (ii) the publishing of a workbook with the same title. It began from a working group that formed at the Academy consisting of students, staff, and administrators (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr). The group’s aim was twofold. Firstly, to provide a space to discuss the highs and lows in our own learning and teaching and to study and review university policies and institutional habits. Secondly, to organize an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were keen to find strategies to address the Eurocentric 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 uses of the classroom, paying attention to time and temporalities, languages, and the empirical body.<br />
The published workbook is understood as an "input" rather than an "output." It aims at a redefinition of the dominant understanding of "impact" in current systems of academic evaluation – an understanding often based on a reductive logic of calculation. The project proposes to reassess the instituted taxonomy of values within learning, teaching and research at the art academy. It asks what would happen if we valued and gave formal credit to all the knowledges and processes involved in how we publish. The project asks how open, enabling, and diverse our knowledge practices are; and how inclusive are our tools and protocols? It does so by practically examining the moments, formats, and temporalities of how knowledge is "practiced" within the art academy. More broadly, this experiment scrutinizes how institutional habits – how we meet, the terminologies we use, the procurement procedures we are asked to follow, the forms of "outcomes" that are expected – enable or hinder collective and inclusive critical knowledge practices.<br />
<br/><br/><br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5*Boxing and Unboxing}}<br />
<b>Boxing and Unboxing</b>, a collaboration with artist Rosalie Schweiker, took place during the course of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm. It consisted of learning how to "box" and "unbox", and cutting up boxes – dealing with questions of categorization inspired by Rhani Lee Remedes's (2002) "SCUB Manifesto: Society for cutting up boxes". Together with curator Jenny Richards, AND organized a boxing club for self-identifying women. The question was whether sparring, when defined as physical play and not as competition, might allow us to rehearse ways to relate to each other in other areas. The experiment conceived of boxing not in terms of masculinity and violence or the survival of the fittest, but as a moment of intense negotiation of border space, contagion, and border linking (Ettinger 2006). In this sense, boxing renders permeable the borderlines of our "proper" subjects (an "individual" conceived as founded in the sole ownership of oneself). As a nonverbal bodily dialogue, it transgresses boundaries 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. In the reflection on this project, I connect thoughts about immunity and community (Esposito, 2010; Lorey, 2013) to the exhilarating, troubling, and demanding experiences that the sparring sessions produced. I will reflect on sparring as a radical bodily dialogue, considering its potential for learning how to compete without needing to win, and how to practice respectful disagreement.<br />
<br />
This variety of projects, sites and strategies is important as part of a wider strategy of feminist publishing that operates in different arenas and reaches beyond traditional notions of publication. As Chantal Mouffe (2005, 114) has noted, "the globalized space is 'striated', with a diversity of sites where relations of power are articulated in specific local, regional and national configurations," highlighting the need for a variety of strategies. Mouffe describes this as "a counter-hegemonic struggle", "a process involving a multiplicity of ruptures" (Errejón and Mouffe 2016, 40).<br />
I am cautious to use the term "counter-hegemonic" since the binary implicit in "counter" simplifies (i) the multi-layered infra-actions at play in the practice itself (collective, transversal), and (ii) the complexities of the contexts in which they operate. But Mouffe helps to argue for the plurality of forms and approaches in my practice that respond to specific issues across a number of different sites: art, education, activism, institutions, culture, business, politics, technology, and media. <br />
<br />
This inquiry is situated within a Western context and – as will emerge in the analysis and theorization of the projects – it is situated with respect to such overarching constructs as colonial modernity, possessive individualism, and the neoliberal subject. As a White European female subject, I move between practices, institutions and discourses mostly within Europe and North America. It is from this position that I investigate the micro-politics of knowledge practices, informed by concepts found in feminist theory, media theory, radical pedagogy, as well as social science and philosophy.<br />
<br/><br />
<br/><br />
<br/><br />
<br />
==Authorship, authorization, authority: the questions==<br />
<br />
I started this PhD research with a range of observations and questions based on my practice to date. These initial questions were refined through the internal logic of a multifaceted inquiry – they moved, opened up, got destabilized a little.{{Annotation|Delicious}} Through thinking embedded in practice, the multiple ways of doing things, and the different entry points I found, I came to reframe, re-describe, and refine the initial problems and assumptions of my inquiry.<br />
<br />
Drawing upon Gabriel Tarde's proposition that knowledge is a mode of socialization and social communication (1903)<ref name="Tarde"/> I set out to investigate publication as a social, pedagogical, and political process. How can publishing create spaces for better mutual understanding and rethinking relations between people? What is the relationship between "making" and "making public"? Between experience and articulation? How does the "outside space" (distribution) shape the "inside space" of publication (content) and vice versa? What is contextual publishing? Is publishing necessarily always tied to a document, whether it be the printed page or via other media such as film, drawing, or photography? What is a document? <br />
In her study <i>Qu'est-ce que la documentation?</i> (1951) the French librarian and pioneer of information science Suzanne Briet describes as follows: an antelope running wild in the Savannah is considered an animal, yet through being captured and brought to Europe to be exhibited in the zoo – through being caged, described, measured, and classified – the animal is turned into a document.<ref name=" Briet"/> It is analyzed, described, categorized, classified, and exhibited as a specimen, a process that constitutes a key paradigm to the project of colonial modernity. <ref name=" Colonial-Modernity"/><br />
<br />
In short, this challenges the initial presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. The research process (making, thinking and analyzing) put this idea into question and made it necessary to rethink the operating assumptions of the inquiry. Institutional pressure (publish or perish), for example, can erode the conditions for practices based on agency, creativity, criticality, experimentation, and collective knowledge making. Publishing (and writing) in institutional or semi-institutional contexts has been arguably "reduced from a process of communication, discovery, and exploration, to a system for the assembly of more and more new products, merely based on a logic of calculation."<ref name="Fitzpatrick1"/> Rebekka Kiesewetter (2019) observes that "the significance of a publication is often reduced to a consumable or proof of excellence and a claim for authority; and publishing activities mostly are pursued within an output-led environment, in which the suggested formats and the institutional, economic and procedural frames tempt the interpretation of every outcome, every representation as vessels for contents, static, backward-looking, absolute, finalized, and set." Several points are raised here: firstly, it points to systems of validation and audit culture; secondly, to the stasis of the "finite" object; and thirdly, to the authority these discrete objects produce. <br />
<br />
As I will argue, these three topics form the main "blockages" for emancipatory, collective knowledge practices. I wrestled with these blockages practically and theoretically throughout this inquiry, each with different entry points and from different perspectives. To be more specific: as the inquiry developed it became clearer that I set out to explore the coercive mutual reciprocity between authorship, authorization, and authority. In this sense, this inquiry seeks to move from a vague apprehension of these three terms' mutual interaction to a clearer framing of their "coercive reciprocation." The result of this inquiry could be described as the development of this insight alongside potential models for emancipatory, critical, intersectional feminist models of knowledge "making and sharing". In practice, doing things, one gets caught in tensions, paradoxes, and double binds. These double binds may become frozen or locked, especially if one stays at the level of writing, or thinking, or talking about it. As soon as one involves multiple ways of tackling the issue practically, experimenting with different ways of doing, it is often possible to find new resources with which to rethink the way the problem is set. By implementing these different experiments I began to refine the description of the problems in terms of the described set of blockages and their reciprocal interaction.<br />
<br />
The majority of this work was conducted between the United Kingdom and Sweden, 2010–20. A significant amount of the policy referenced in this inquiry is specific to the UK, where I spent the majority of my "university life". The UK may also be taken as indicative of wider tendencies in higher education and research elsewhere – the UK started early on with an explicit formulation of the changing agenda in higher education and research, in the form of the Research Excellence Framework (REF), for example,<ref name= "UK REF"/> reflecting the broader shift towards a culture of audit and metrics.<br />
<br/><br />
<br/><br />
<br/><br />
<br />
=="Thinking with": the format==<br />
<br />
The format I choose for this PhD inquiry is a compilation thesis, comprising a distinct set of practical experiments and a "kappa" (Swedish, translated to English as "cape" or "coat").{{Annotation|Kappa}} The kappa is what you are reading now, on this wiki. The purpose of the kappa is to disclose the contribution made by the research project and to locate that contribution with reference to existing knowledge practices.<br />
In Swedish academia, the kappa is understood as an outer layer that bundles, connects, discusses, and reflects on its contents. I use the kappa as a way to engage with the range of experiments I have carried out, without turning them into a monolithic entity (as can happen with a monograph, the typical format for a doctoral submission). The kappa is meant to allow the components to retain their discrete, self-contained identities, but also to enable them to be joined together as elements of a larger construction. As Gary Hall pointed out in an earlier discussion of the work in progress, one could think of all the different elements of a coat: the sleeves, the collar, the lining, the buttons, all stitched together to form a larger construction. (Here it could be interesting to think about the nature of the joints.) But these metaphors still do not reflect exactly how I worked in this inquiry. The stitching together of different parts suggests a unified whole – the coat – and the formless cape or wrapper suggests an enclosure that shields the different parts from the outside. <br />
Perhaps Ursula Le Guin's "carrier bag theory" is more fitting? The vessel, Le Guin suggests, is mankind's earliest tool – not the spear, as often claimed. "A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient. [...] what's the use of digging up a lot of potatoes if you have nothing to lug the ones you can't eat home in – with or before the tool that forces energy outward, we made a tool that brings energy home." The only problem, as Le Guin notes, is that a carrier bag story is not at first glance very exciting. "It is hard to tell a really gripping tale of how I wrested a wild-oat seed from its husk, and then another, and then another, and then another, and then another, and then I scratched my gnat bites, and Ool said something funny, and we went to the creek and got a drink and watched newts for a while, and then I found another patch of oats…" (Le Guin 1996). As well as its wandering narrative, a carrier bag story contains no heroes. Instead, as Siobhan Leddy (2019) observes, there are <br />
::many different protagonists with equal importance to the plot [...] and the bag's inside is messy and sometimes conflicted. Like when you're trying to grab your sunglasses out of your bag, but those are stuck on your headphones, which are also tangled around your keys, and now the sunglasses have slipped into that hole in the lining. This lack of clear trajectory allowed Le Guin to test out all kinds of political eventualities, without the need to tie everything neatly together. It makes room for complexity and contradiction, for difference and simultaneity.<br />
<br />
I have been thinking a lot about protagonists in this narrative, in this PhD. Since most of the practices are collaborations, I saw a danger in the fact that it will be mostly me who is narrating, framing, and to an extent historicizing them from my perspective alone. The struggle was to differentiate the "I" and the "we" throughout this writing and thinking; they are often difficult to disentangle. This "I" also shifts, is not stable, perhaps incoherent, because it has been populated by others while working and thinking together.<br />
<br />
I have also been thinking a lot about tools and "containers" for this kappa, and how the tools shape the way I write and read. After one year of writing, and after meeting Femke Snelting and Michael Murtaugh from Constant at a three-day research meeting in Basel, I decided to drop the solitary Word document on my hard disk and continue in the form of a MediaWiki.<ref name= "MediaWiki"/> This for me was a "paradigm shift" from the protected, private and proprietary environment of my hard disk to a web-based, open, and "public" environment for my tentative thinking, writing and archiving. There were moments of anxiety when I shared the URL, knowing that lots of things were unresolved, not thought through or tentatively worded. But it felt important to share this process because it created dialogues and conversations. It was always cooking, and lots of precious ingredients have been added by others throughout these conversations – only because it was open and accessible throughout.<br />
<br />
One specific tool that had been coded by Cristina Cochior and Manetta Berends from Varia (Rotterdam) is the annotation feature.{{Annotation|Feedback loop}} It is used by the folks in the various collaborations. So far, Andrea Francke (Piracy Project), Andreas Engman, MC Coble (Let's Mobilize: What is Feminist Pedagogy?), and Rosalie Schweiker (AND, Boxing and Unboxing) have added anecdotes, thoughts, and observations about working with these specific projects. In working together, there are always assumptions, motivations, and misunderstandings that are not necessarily articulated while plotting and "doing stuff". Strangely, you often assume that everyone else thinks the same as you do. Therefore, the annotation feature invites the collaborators to comment, add, and disagree with my accounts of the projects. And as such, it turns the thesis from an authoritative text into an occasion for negotiation, disagreement, and consultation. This approach is not a "writing up," but an experiment in itself. Lastly, this work is not locked up in a scholarly monograph in a university collection, but accessible via the internet – opening up its readership beyond those having access or are inclined to visit European university libraries (Cusicanqui 2011). This also means it is open to feed back into communities outside academia, in which most of the activities developed and are grounded in.<ref name= "Charlotte Cooper"/> And as such, it tries to avoid extractive economies that are addressed in Appendix 2*Interview with Femke Snelting.{{Interlink|Appendix_2*Interview_with_Femke_Snelting|see appendix 2*Interview with Femke Snelting}}<br />
<br/><br />
<br/><br />
<br />
==Roadmap==<br />
<br />
The kappa, the textual format that synthesizes and summarizes the contribution made by the PhD research project, is structured in 6 chapters plus appendices. It is important to note that the kappa is not the final or only form of disclosure. The kappa is a device being used to disclose the practice to meet the terms of a doctoral examination process – the work also circulates more widely in the world in other wrappers (carrier bags) and on different terms. <br />
It will be useful to explain the different layers of text you are reading on this wiki. <br />
The main body text (black) is the text I have written. It has a substantial '''notes section''' at the bottom of each chapter that operates as a parallel layer to the main text. I wanted to keep the main text concise and easy to follow. Therefore, lots of more detailed information, and unpacking of specific terms or concepts takes place in the notes.<br />
The left-hand column is the <b>navigation menu</b> that brings you to the individual pages (chapters). It does the same job as the index page but is easier to use since it stays visible on each page. In the right-hand column, you will find '''annotations''' by persons I collaborated with in the projects, as well as peers, friends, and colleagues who were thinking with me during this inquiry. These annotations vary between textual comments and visual comments, since not everyone felt that text is the medium with which they can best express themselves. <br />
<br />
The page <b>About this wiki</b> explains the purpose of this Mediawiki as constituting the submission of a Doctoral thesis leading to the degree of Doctor of Philosophy in Artistic Practice. It also contains the abstract.<br />
<br/><br />
<br/><br />
<b> Chapter 01*Contents</b> presents the table of contents of this kappa.<br />
<br/><br />
<br/><br />
<b> Chapter 02*Setting</b> gives an overview of what the inquiry is about – of the basic research task, agenda, and purpose. It lays out the context, the problems I will address, and the questions I started with. It also gives information on how the wiki is structured and how it can be read.<br />
<br/><br />
<br/><br />
<b> Chapter 03*Survey of the field</b> presents and discusses practices, movements, and concepts that others have developed. These examples are spread widely in terms of geography and history, and they draw on a wide range of disciplinary frames and epochs. This broad approach stems from a commitment to work transversally and not to be bound by the protocols of one field alone – such as contemporary art or feminist organizational practices or radical education. The examples I have chosen are all instances where the dominant paradigms of publishing and the formation of knowledge have been in one way or another adjusted, acting as declared counter-political projects. This chapter also maps a network of relationships, since I have been working with some of the discussed projects in the form of workshops, seminars, talks, friendships, and other moments of thinking and doing together.<br />
<br/><br />
<br/><br />
<b> Chapter 04*Summary of projects & submitted material</b> provides a short factual description of the submitted material to make explicit the projects and activities that form the basis of the contribution made by this research project. It details five long-term practice projects, and includes published (fixed) materials, such as articles, chapters, papers, and ephemera as well as discursive (unfixed) practices describing the workshops, talks, and moments of "thinking with" that constitute not an "outcome" but a practice.<br />
<br/><br />
<br/><br />
Each of the <b> Project pages (1–5)</b> describes one of the five practice projects in more detail. They break down the context that each project responded to or intervened in. They also give a step-by-step sketch of their main elements, methods, and strategies employed. The five practice projects are: '''AND''' (1); '''Library of Omission and Inclusions''' (2); '''The Piracy Project''' (3); '''Let's Mobilize what is Feminist Pedagogy?''' (4); and '''Boxing and Unboxing''' (5). All of these projects are collaborations and developed over time. <br />
<br/><br />
<br/><br />
<b>Chapter 05*Reflection and theorization of projects and submitted material</b> provides a more in-depth and extended reflection on the projects and experiments I have carried out. This is provided to disclose the significance and importance of the contribution made by the research project. It discusses the complexities and contradictions of each of the practice projects individually and articulates their underlying concepts and theories. <br />
<br/><br />
<br/><br />
Building on the reflection and theorization of the five practice projects, the <b> chapter 06*Analysis</b> zooms in on the micro-politics of knowledge practices and crystalizes a range of topics that surfaced throughout the projects. Touching on the politics of citation and experimental authorial practices, I analyze the experiment of writing this thesis in the form of a MediaWiki – as a way that practically experiments with some of the claims made.<br />
<br/><br />
<br/><br />
<b>07*References</b> lists the resources that have informed the practices, thinking and writing of this research. It goes, therefore, beyond a strict list of "cited sources" since it includes materials that have informed my practice indirectly. Where possible, I have linked directly to sources or uploaded them to this wiki database. As such, this section also extends beyond a typical bibliography and operates partly as an archive.{{Annotation|Carrier bag}}<br />
<br />
<br />
<b>08*My integrated circuit</b> acknowledges the collaborative effort of this research project.<br />
<br/><br />
<br/><br />
The appendices present further materials that did not fit within the index structure above.<br/><br />
<b>Appendix*01: Let's Mobilize Revisited</b> presents a collaborative writing experiment with multi-layered commentary, conducted by Rose Borthwick, Andreas Engman, MC Coble, Eva Weinmayr in 2017.<br/><br />
<b>Appendix*02: Interview: Femke Snelting, Eva Weinmayr, March 24–25, 2020 (Resolutions are always temporary)</b> features an interview with Femke Snelting (Constant, Brussels).<br/> <br />
<b>Appendix*03: Rosalie's Visual Comments</b> collects the visual annotations that Rosalie Schweiker produced for this kappa in 2020.<br/><br />
<br/><br />
<br/><br />
<br/><br />
<br />
==Notes (Setting)==<br />
<br />
<references><br />
<ref name= "knowledge">Without presenting a premature definition of knowledge, a short insert is needed here to point out that knowledge is connected to an apparatus of legitimization that is discussed and problematized in the following chapters. The term "acknowledging" points towards a dialogical and relational act, to acknowledge means "I see you". To acknowledge is an act of recognizing, of interacting "with other people’s worlds" in the words of Maria Lugones (2003, Introduction):<br />
::By traveling to other people’s “worlds,” we discover that there are “worlds” in which those who are the victims of arrogant perception are really subjects, lively beings, resisters, constructors of visions even though in the mainstream construction they are animated only by the arrogant perceiver and are pliable, foldable, file-awayable, classifiable. I always imagine the Aristotelian slave as pliable and foldable at night or after he or she cannot work anymore (when he or she dies as a tool). Aristotle tells us nothing about the slave apart from the master. We know the slave only through the master. The slave is a tool of the master. After working hours, he or she is folded and placed in a drawer until the next morning.</ref><br />
<br />
<br />
<br />
<ref name= "public sphere"> The idea of public that I have in mind is not one that is built on Habermas's concept of the bourgeois public sphere (Habermas 1962), because it does not differentiate between <i> a </i> public and <i> the </i> public. Michael Warner (2003) describes <i> the </i> public as "a kind of social totality, the people in general" and <i> a </i> public as a concrete audience, "a crowd witnessing itself in visible space, as with a theatrical public. Such a public also has a sense of totality, bounded by the event or by the shared physical space". Also Nancy Fraser’s sense of “counterpublic” (Fraser 1997) seems problematic since a counter-public presupposes a universalizing concept of the bourgeois mainstream public that it can oppose, that can be "countered". <br />
Similar to Nancy Fraser's concept of counterpublics, María Pía Lara provides an account of counter publicity in subaltern groups and stresses, according to Lugones, that the public address is an "attainment of recognition […] that is addressed not just to subaltern groups, but in a wider direction."(Lugones 2000, 176). In her text "Multiculturalism and Publicity" (2000), Maria Lugones provides a short summary of Lara's argument:<br />
::Dialogue between author and public is necessary for recognition. Engaging the other in an understanding of the ego is crucial here; disclosure is crucial to identity formation. [...] thus, requires public recognition (Lara 1999, 87). Recognition is complete only when “acceptance of the public has taken place” (Lara 1999, 82). If differences are necessary for subjective expansion, their value must be “asserted in front of others” and the dialogue must not only show what makes one different but also that those differences are “part of what should be considered worthy” (Lara 1999, 156, 157). Groups needing to be heard must “conquer channels of communication to call attention to the way they have been treated”; recognition is thus a struggle (Lara 1999, 151, 157). It is their descriptions of what is missing in their lives that make their claims meaningful and understandable to others (Lara 1999, 151). In this case, subaltern publics must aim to reach recognition from both oppressors and oppressed. (Lugones 2000, 179) <br />
Maria Lugones discusses yet another dimension of public and publicity, one that refers to the hidden publics of infrapolitics, that deliberately forgo a publicist address. (On infrapolitics, see Scott 1987 and 1990.) The so-called "hidden transcript," as a dissident political culture in resistance to oppression, does not address the oppressor. Hidden transcripts, therefore are not just "outside 'the master's tools,' but also outside the master's perceptual field and the master's perceptual possibilities." (Lugones 2000, 178).<br />
My use of the term public corresponds to Warner's self-organized public that organizes around a concrete object, occasion (event) or discourse – a publication, for example. This comes close to Matthew Stadler's claim that "publication is the creation of new publics" (Stadler, 2012). Furthermore, the term public in this kappa refers also to public property and accessibility, such as the public domain and open access in contrast to private or corporate ownership.</ref><br />
<br />
<br />
<ref name= "contemporary art">It may help to briefly explain how these three intersecting terms are employed here, by way of locating the inquiry. "Contemporary art" refers to the broad terrain of art production from the 1960s onward. However, rather than a period designation, it is used here to refer to a broad domain of practice that may be termed "post-representational" (Sternfeld 2018), "post-conceptualist" (Osborne 2010) or "relational" (Bishop 2006). "Radical education" refers to several distinct traditions of educational practice that is explicitly framed with revolutionary or politically transformative intentions and objectives. These traditions include, for example, Paulo Freire's <i>Pedagogy of the Oppressed</i> (Freire 1970) and bell hooks’ writings on intersectional feminist pedagogy, such as <i>Teaching to Transgress: Education as the Practice of Freedom</i> (hooks 1994). Radical pedagogy has been practiced and tested by projects such as the "Anti-University" in London, the artist collective Ultra Red, and Malmö Free University for Women; and it has been theorized for example in the field of art and curating in books such as <i>Curating and the Educational Turn</i> (O'Neill and Wilson 2010) and in the field of higher education in, for instance, <i>The Imperial University: Academic Repression and Scholarly Dissent</i> (Chatterjee and Maira 2014). By "institutional analysis" I am intending not to describe a sub-domain of sociology, organizational studies or political science but rather the intellectual and practical traditions of institutional critique from within the contemporary art field as this intersects with feminist and intersectional analyses of power – which is of course informed by elements drawn from these other disciplines, but manifests a different tendency and different literature. For more on this see <i>Institutions by Artists</i> (Khonsary and Podesva 2012), <i>How Institutions Think</i> (O'Neill, Steeds and Wilson 2017), and the research project <i>Creating Commons</i> (University of the Arts Zürich, 2016–19).</ref><br />
<br />
<br />
<ref name="Modern Project"> The feminist critique of modern epistemologies refers to modernity's claim for abstraction and universalism that originates, in Haraway's words, from a "vision from everywhere and nowhere equally and fully." (Haraway 1988, 584) Boaventura de Sousa Santos summarizes the characteristics of modern epistemologies, which he calls "Epistemologies of the North" as <br />
::(i) the absolute priority of science as rigorous knowledge; (ii) rigor, conceived of as determination; (iii) universalism [...] referring to any entity or condition the validity of which does not depend on any specific social, cultural, or political context; (iv) truth conceived of as the representation of reality; (v) a distinction between subject and object, the knower and the known; (vi) nature as <i> res extensa</i>; (vii) linear time; (viii) the progress of science via the disciplines and specialization; (ix) and social and political neutrality as a condition of objectivity. (de Sousa Santos 2018, 6)</ref><br />
<br />
<ref name= "Lugones Pilgrimages 648">For Lugones, streetwalker theorizing implies a "pedestrian view – the perspective from inside the midst of people, from inside the layers of relations and institutions and practices” (Lugones 2003, Introduction) In contrast, the bird’s-eye view promotes "the perspective from up high, planning the town, the takeover, or the analysis of life and history" (Lugones 2003, Introduction). With "streetwalker theorizing" Lugones proposes an active subjective agency (in place of the liberal model of agency) that “does not presuppose the individual subject and it does not presuppose collective intentionality of collectivities of the same. It is adumbrated to consciousness by a <i>moving with</i> people, by the difficulties as well as the concrete possibilities of such movings.” (Introduction, emphasis added). This "moving with" shifts the understanding of agency of individual subjectivity, which is here not ascribed to a single rational actor to formulate and pursue her own conceptions but rather "the oft-impeded, multi-directional efforts of social beings moving within and against power structures." (Chang et al. 2018)</ref><br />
<br />
<ref name= "Santos Cognitive page 54"> From a decolonial perspective, Boaventura de Sousa Santos argues that the concept of the author in Western modernity forms part of the same cluster of idealist philosophies that underlie modern possessive individualism, namely originality, autonomy, and (individual) creativity. Such concepts, he claims, have little validity in the epistemologies of the South (as opposed to the epistemologies of the North, i.e Western modernity) as, "for them, the most relevant knowledges are either immemorial or generated in the social experiences of oppression and the struggles against it. In any case, they are rarely traceable to a single individual. Underlying such knowledges, there are always new or ancient collective experiences." (de Sousa Santos 2018, 54). See also the book chapter "Confronting Authorship, Constructing Practices", in which I discuss prevailing Western assumptions of authorship and ownership based on both property rights and moral rights and the blockages these assumptions create for collective knowledge practices (Weinmayr 2019, 267–307). <br />
</ref><br />
<br />
<ref name= "Constant ongoing"> This citation, without pointing to a specific stabilized publication, might surprise the conventions of academic standards. It refers to a 20-year practice of Brussels-based feminist technology collective Constant, who explore and demonstrate through their practices modes of how "to practically intervene, disrupt and change existing systems of production, distribution, and consumption of knowledge" – a question I raised at the start of this inquiry. See: website "Constant", http://constantvzw.org/site.</ref><br />
<br />
<br />
<ref name=" Printed Matter">I took copies of my first two independently published publications – <i>Lery – a story of facts and faxes</i> (1998) and <i>Mexico</i> (1997, with Vera Büchlmann and Joachim Melf) – on my first trip to New York, walked into Printed Matter art book shop and sold them ten copies each on consignment. What an empowering moment – more exciting than any exhibition opportunity I ever had.</ref><br />
<br />
<br />
<ref name= "my publications"> Having published with big mainstream commercial publishing houses (Hatje Cantz) as well as small independent presses (Temporary Services, Half-Letter Press, Occasional Papers, Book Works) I got more and more interested in exploring and setting up a publishing infrastructure and subsequently co-founded in 2010, with American artist Lynn Harris, AND Publishing in London (today run with Rosalie Schweiker). </ref><br />
<br />
<br />
<br />
<br />
<ref name= "variability monograph"> Of course, within the field of scholarly publishing there is some variability, for instance, the role of the monograph in parts of the humanities in contrast to the role of the double-blind peer review article in some of the medical sciences, or the role of the critical edition in the humanities as against, say, the meta-research analysis paper in the social sciences. In short, there are different scholarly publishing hierarchies and protocols across the disciplines, but the overarching claim is still viable despite this. </ref><br />
<br />
<br />
<br />
<ref name= "open access models"> For a summary of the range of open access models that have been introduced, such as "Gold," "Green," and "Hybrid," see "What is open access?" https://www.openaccess.nl/en/what-is-open-access.</ref><br />
<br />
<br />
<ref name="Radical Open Access"> The focus of these newly emerging open access presses is not limited to "providing online access to scholarly<br />
publications but was also about rethinking what an academic publishing culture should look like in a digital environment." (Adema, Moore 2018). One example would be the Radical Open Access Collective (ROAC), a community of scholar-led, not-for-profit presses, journals and other open access projects that at the moment consists of more than 50 members promoting a progressive vision for open publishing in the humanities and social sciences. http://radicaloa.disruptivemedia.org.uk/about/.<br />
The collective's aim is "to push back against the growing dominance of market-driven versions of open access – particularly those connected to exorbitant, and ultimately unsustainable, article and book processing charges – in order to promote non-commercial and not-for-profit forms of publishing that work against the neoliberal grain." http://radicaloa.disruptivemedia.org.uk/philosophy/. See also the range of topics debated at the two Radical Open Access conferences organized: "Radical Open Access" (2015) http://radicalopenaccess.disruptivemedia.org.uk/wp-content/uploads/2015/04/Booklet.pdf, and "Radical Open Access and the Ethics of Care" (2018) at Disruptive Media Lab at Coventry University, http://radicaloa.disruptivemedia.org.uk/conferences/roa2/concept/.</ref><br />
<br />
<br />
<br />
<ref name="Inhumanist Manifesto"><br />
Gary Hall's "Inhumanist Manifesto" proposes ten strategies:<br/><br />
1. Work collaboratively and collectively.<br/><br />
2. Operate according to a non-profit philosophy.<br/><br />
3. Act in a non-rivalrous, non-competitive fashion to explore new models for property, ownership and the economy.<br/><br />
4. Take a hyper-political approach. Gift labor as a means of developing notions of the community, the common and of commoning that break with the conditions supporting the unified, sovereign, proprietorial subject.<br/><br />
5. Generate projects that are concerned, not only with representing or critiquing the world but also with intra-acting with the world.<br/><br />
6. Interrogate those propositions that are often taken for granted by theory. The list is a long one. It includes data, the digital, the human, technology, the printed text, the network, and copyright. Other propositions that are assumed by theorists when drawing conclusions about the media are capitalism, liberalism, humanism, freedom, democracy, community, communism, and the commons.<br/><br />
7. Engage with the existing institutions – especially those to which theorists are most closely tied such as the university, the library, and the scholarly publishing industry – so as to transform them.<br/><br />
8. Use different personas or masks to experiment with producing multiple authorial 'I's, different to the liberal humanist subjectivity that is the default adopted by even the most supposedly radical of theorists.<br/><br />
9. Reinvent both the humanities and the posthumanities as the inhumanities by adopting ways of being and doing as theorists that actually take account of and assume an intra-active relation with the nonhuman.<br />
(Hall 2017, 177).</ref><br />
<br />
<br />
<ref name="mayflybooks"> See <i>Mayfly Books</i>,"About Mayfly Books", http://mayflybooks.org/?page_id=2.</ref><br />
<br />
<br />
<br />
<ref name="counter-politically"> The term "counter-political" is not to be read as "against politics" or "anti-politics". Counter-political is thought of as a practice that exceeds politics as an act of public demonstration and proclamation, or declarative, symbolic gestures. Its political agency lies in "doing things", the creation of facts, employing specific methods to achieve a certain goal. Counter-political comes close to infrapolitics with the difference that for infrapolitics anonymity is a key concern, "a politics that 'dare not speak its name,' a diagonal politics, a careful and evasive politics that avoided dangerous risks." (Scott 2012). See also the discussion of publicness and the public sphere. (02*Setting, note 3).</ref><br />
<br />
<br />
<ref name="Valand change of name" >I am using the name "HDK-Valand Academy of Arts and Design", or its short form "HDK-Valand" throughout this kappa. During the time when the project was in progress the Art Academy's name was "Valand Academy". "HDK-Valand" is the new name of the merger (2020) of the two art schools, Valand Art Academy and HDK Academy for Design and Craft.</ref><br />
<br />
<br />
<ref name="Tarde"> <br />
French sociologist Gabriel Tarde stresses in his book <i>La lois d’imitation</i> (1890), <i>The Laws of Imitation</i> (translated into English in 1903) the fundamental collective and pluralistic dimension of society by examining how any societal effort of invention is built on imitation. He states there is no tabula rasa on which ideas and knowledge emerge from, but ideas always build on already existing ideas. "Our acts are what they are because they are the fittest to satisfy and develop the wants which previous imitation of other inventions had first seeded in us; our thoughts, because they were the most consistent with the knowledge acquired by us of other thoughts which were themselves acquired because they were confirmed by other preliminary ideas or by visual, tactile, and other kinds of impressions which we got by renewing for ourselves certain scientific experiences or observations, after the example of those who first undertook them". (1903, 94) </ref><br />
<br />
<br />
<ref name= "Briet">Suzanne Briet wrote this treatise as a contribution to the discourse of what constitutes a document. This question was fiercely discussed in the early 1900s, with Paul Otlet claiming that not just written documents but also three-dimensional objects could constitute a document when they serve as evidential objects. Briet expanded this concept by saying that naturally occurring phenomena could as well be documents, such as stars, pebbles, and animals when they had been observed and recorded and classified by an individual (Briet 1951). </ref><br />
<br />
<br />
<br />
<br />
<br />
<ref name="Colonial-Modernity"> I relate colonial modernity to the concept of coloniality, as Nelson Maldonado-Torres explains: <br />
::Coloniality is different from colonialism. Colonialism denotes a political and economic relation in which the sovereignty of a nation or a people rests on the power of another nation, which makes such nation an empire. Coloniality, instead, refers to long-standing patterns of power that emerged as a result of colonialism, but that define culture, labor, intersubjective relations, and knowledge production well beyond the strict limits of colonial administrations. Thus, coloniality survives colonialism. (Maldonado-Torres 2007, 243). </ref><br />
<br />
<br />
<br />
<ref name="Fitzpatrick1">See Kathleen Fitzpatrick’s <i>Generous Thinking</i> – I refer to the published draft version: <i>Generous Thinking: The University and the Public Good</i>, especially the chapter "Critique and Competition" (Fitzpatrick 2018). Fitzpatrick’s working method with writing this book presents an interesting approach to scholarly publishing. She published the draft of her book online on Humanities Commons, inviting readers to comment. Based on these responses, what one could call a process of open peer review, she revised the initial draft for publication with John Hopkins University Press. While one could say this is some form of collective authorship, the now published title carries her individual name. The final print version is published as <i>Generous Thinking: A Radical Approach to Saving the University</i> (Fitzpatrick 2019). </ref><br />
<br />
<ref name= "UK REF">For example, the "Research Excellence Framework" (REF) is the UK system for assessing the quality of research in UK higher education institutions. The primary purpose of REF is to assess the quality of research and produce outcomes for each submission made by institutions. The four higher education funding bodies will use the assessment outcomes to inform the selective allocation of their grant for research to the institutions. The assessment is meant to provide accountability for public investment in research and to produce evidence of the benefits of this investment. The assessment outcomes aim to provide benchmarking information and to establish reputational yardsticks, for use within the higher education (HE) sector and for public information.<br />
<br />
The quality of research is assessed according to three criteria: (i) the quality of outputs (e.g. publications, performances, and exhibitions), (ii) their impact beyond academia, and (iii) the environment that supports research. Note that the criteria to assess the research environment are based on quantitative indicators such as <br />
(a) data on research doctoral degrees awarded, (b) research income, and (c) research income-in-kind). The shortcomings of quantitative assessment will further be discussed in chapter 06*Analysis.<br />
<br />
The REF was first carried out in 2014 (replacing the previous Research Assessment Exercise in 2009) the second one is scheduled for 2021. It is undertaken by the four UK higher education funding bodies: Research England, the Scottish Funding Council (SFC), the Higher Education Funding Council for Wales (HEFCW), and the Department for the Economy, Northern Ireland (DfE). https://www.ref.ac.uk/2014/</ref><br />
<br />
<br />
<ref name="MediaWiki"> Mediawiki is an open-source web-based content management software that also powers Wikipedia. The first wiki software (WikiWikiWeb) was developed by Ward Cunningham in the mid-1990s to enable a community of software developers to work together. Wikis are web-based content management systems that allow users to collaborate on content asynchronously. They contain a series of extendable hyperlinked pages to which users can add, edit and delete information, alter the structure, and so on. Every change is automatically recorded, viewable and reversible by users. Wikis use a very simplified mark up language and as such users require no knowledge of code, nor any specialist software or plugins. Cunningham described wikis as the "simplest online database that could possibly work." See http://www.wiki.org/wiki.cgi?WhatIsWiki.</ref><br />
<br />
<ref name= "Charlotte Cooper"> Charlotte Cooper produced a helpful "Research Justice Diagram" that shows the ethics of research that draws on communities outside academia; in Charlotte's case research on Fat Activism. For the diagram see: http://www.antiuniversity.org/Fat-Activism-and-Research-Justice. See also Charlotte Cooper’s website, http://charlottecooper.net/. </ref><br />
</references></div>Evahttp://wiki.evaweinmayr.com/index.php?title=1_Contents&diff=116041 Contents2020-10-13T08:17:21Z<p>Eva: </p>
<hr />
<div><p style="font-family:'Georgia'"><b>Table of Contents (short)</b></p><br />
<br />
* [[Main_Page | About this wiki]]<br />
* [[2_Setting | Setting]]<br />
* [[3_Survey_of_the_field| Survey of the field]]<br />
* [[4_Summary_of_projects_and_submitted_material | Summary of projects and submitted material]]<br />
* [[5_Reflection,_theorization_of_projects| Reflection, theorization of projects]]<br />
* [[6 Analysis: Micro-politics of Publishing | Analysis: Micro-politics of Publishing]]<br />
* [[7_References|References]]<br />
<br/><br />
[[File:Rosalie scroll 3.png|240px|left]]<br clear=all><br />
<p style="font-family:'Georgia'"><b>Table of Contents (extended)</b></p><br />
* [[Main_Page | About this wiki]]<br />
* [[2_Setting | Setting]]<br />
** [[2_Setting#Multiple_sites | Multiple Sites]]<br />
** [[2_Setting#More_verb.2C_less_noun:_the_practices |The Practices]]<br />
** [[2_Setting#Authorship.2C_authorization.2C_authority:_the_questions |The Questions]]<br />
** [[2_Setting#.22Thinking_with.22:_the_format |The Format]]<br />
** [[2_Setting#Roadmap|The Roadmap]]<br />
** [[2_Setting#Notes_.28Setting.29|Notes (Setting)]]<br />
* [[3_Survey_of_the_field| Survey of the field]]<br />
** [[3_Survey_of_the_field#Setting_up_alternative_infrastructures | Setting up alternative infrastructures]]<br />
***[[3_Survey_of_the_field#Early_conceptual_artist_books:_Setting_up_infrastructures_of_production_and_distribution_.28the_60s_and_70s.29|Early conceptual artist books]]<br />
*** [[3_Survey_of_the_field#Descriptors_and_their_discontents:_artist_book.2C_artist.27s_publishing| Descriptors and their discontents]]<br />
***[[3_Survey_of_the_field#Counter-cultural_alternative_media_.E2.80.93_Radical_Printshops_.2870s.2C_80s.2C_UK.29|Counter-cultural alternative media]]<br />
***[[3_Survey_of_the_field#Open_Source:_Feminist_technologies:_Constant_.28Brussels.29| Open Source: feminist technologies]]<br />
**[[3_Survey_of_the_field#Interventionist_strategies_.E2.80.9CInsertions_into_Ideological_Circuits.E2.80.9D | Interventionist Strategies ]]<br />
**[[3_Survey_of_the_field#Library_as_Infrastructure|Library as Infrastructure]]<br />
** [[3_Survey_of_the_field#Radical_Librarianship_.E2.80.93_.22extitutional.22:_Questions_of_access_and_validation| Radical Librarianship – "extitutional"]]<br />
*** [[3_Survey_of_the_field#An_artwork:_.22Martha_Rosler_Library.22_.282007.29|An artwork: Martha Rosler Library]]<br />
*** [[3_Survey_of_the_field#A_network_of_relationships:_Infoshops_.281990s_UK.29| A network of relationships: Infoshops]]<br />
*** [[3_Survey_of_the_field#Shadow_Libraries | Shadow Libraries]]<br />
** [[3_Survey_of_the_field#Radical_Librarianship_.E2.80.93_.22institutional.22:_Questions_of_organization_and_classification| Radical Librarianship – "institutional"]]<br />
*** [[3_Survey_of_the_field#Prejudices and Antipathies | Prejudices and Antipathies]]<br />
*** [[3_Survey_of_the_field#KvinnSam, the National Resource Library for Gender Studies at Gothenburg University | KvinnSam, the National Resource Library for Gender Studies, Gothenburg University]]<br />
*** [[3_Survey_of_the_field#Feminist_Search_Tool | Feminist Search Tool, Utrecht University Library]]<br />
*** [[3_Survey_of_the_field#Infrastructural_Manoevres.2C_Rietveld_Library_Amsterdam | Infrastructural Manoevres, Rietveld and Sandberg Library, Amsterdam]]<br />
*** [[3_Survey_of_the_field#Teaching the Radical Catalog | Teaching The Radical Catalog]]<br />
*** [[3_Survey_of_the_field#Performative_Propositions:_Policy_Document_at_ERG | Performative Propositions: Policy Document at erg, Brussels]]<br />
** [[3_Survey_of_the_field#What's next | What's next]]<br />
** [[3_Survey_of_the_field#Notes: Survey of the field| Notes (Survey of the field)]]<br />
* [[4_Summary_of_projects_and_submitted_material | Summary of projects and submitted material]]<br />
** [[4_Summary_of_projects_and_submitted_material#Projects | Projects]]<br />
***[[Project_1_*_AND_Publishing| *AND Publishing]]<br />
***[[Project_2_*_Library_of_Inclusions_and_Omissions| *Library of Inclusions and Omissions]]<br />
***[[Project_3_*_The_Piracy_Project| *Piracy Project]]<br />
***[[Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F| *Let's Mobilize: What is Feminist Pedagogy?]]<br />
***[[Project_5_*_Boxing_and_Unboxing| *Boxing and Unboxing]]<br />
** [[4_Summary_of_projects_and_submitted_material#Published_.28Fixed.29 | Published (Fixed)]]<br />
** [[4_Summary_of_projects_and_submitted_material#Discursive_.E2.80.93_teaching.2C_workshops.2C_presentations.2C_discussions.2C_think-ins_.28Unfixed.29 | Discursive (Unfixed)]]<br />
*[[5_Reflection,_theorization_of_projects| Reflection, theorization of projects]]<br />
** [[5_Reflection,_theorization_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 />
*** [[5_Reflection,_theorization_of_projects#Library_of_Inclusions_and_Omissions_.E2.80.93_radical_publishing_practices_require_radical_librarianship|Which narratives enter?]]<br />
*** [[5_Reflection,_theorization_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality| Perspectives and framing under the disguise of neutrality]]<br />
*** [[5_Reflection,_theorization_of_projects#Library_as_disciplinary_institution | Library as disciplinary institution]]<br />
*** [[5_Reflection,_theorization_of_projects#Classification_.E2.80.93_a_hierarchical_architecture_to_house_the_universe_of_knowledge | Classification — an architecture to house the universe of knowledge]]<br />
*** [[5_Reflection,_theorization_of_projects#Sameness_and_Difference | Sameness and Difference]]<br />
** [[5_Reflection,_theorization_of_projects#The_Piracy_Project | The Piracy Project]]<br />
*** [[5_Reflection,_theorization_of_projects#Queering_the_authority_of_the_printed_book | Queering the authority of the printed book]]<br />
*** [[5_Reflection,_theorization_of_projects#Who_has_the_right_to_be_an_author:_Copyright_and_IP | Who has the right to be an author: copyright and IP]]<br />
*** [[5_Reflection,_theorization_of_projects#Unsolicited_Collaborations:_queering_the_authorial_voice| Unsolicited Collaborations: queering the authorial voice]]<br />
*** [[5_Reflection,_theorization_of_projects#The_social_agency_of_piracy | The social agency of piracy]]<br />
*** [[5_Reflection,_theorization_of_projects#The_limits_of_framing_and_exhibiting| The limits of framing and exhibiting]]<br />
*** [[5_Reflection,_theorization_of_projects#Why_we_decided_to_end_the_project| Why we decided to end the project]]<br />
** [[5_Reflection,_theorization_of_projects#Let.27s_Mobilize:_What_is_Feminist_Pedagogy.3F_.E2.80.93_Institutional_Pedagogy| Let's Mobilize: What is Feminist Pedagogy?]]<br />
*** [[5_Reflection,_theorization_of_projects#The_event:_.22un-authored.22_practices_of_feminist_organizing_and_changing_institutional_habits| The "un-authored" practices of feminist organizing and changing institutional habits]]<br />
**** [[5_Reflection,_theorization_of_projects#The_administrator_as_co-author| The administrators as co-authors]]<br />
**** [[5_Reflection,_theorization_of_projects#Collectivity:_Desires_and_Complications | Collectivity: Desires and Complications]]<br />
*** [[5_Reflection,_theorization_of_projects#Questions_of_efficiency_and_unmeasurable_labor | Questions of efficiency and unmeasurable labor]]<br />
*** [[5_Reflection,_theorization_of_projects#The_Workbook:_contingent.2C_contextual_publishing| The workbook: contingent, contextual publishing]]<br />
**** [[5_Reflection,_theorization_of_projects#The_editorial_process| The editorial process]]<br />
**** [[5_Reflection,_theorization_of_projects#Public_Assembling_Day:_Distribution_as_social_encounter| Public assembling day: Distribution as social encounter]]<br />
****[[5_Reflection,_theorization_of_projects#Walkable_Book:_Situated_publishing| Walkable Book: situated publishing]]<br />
***[[5_Reflection,_theorization_of_projects#Workbook_and_event:_an_.22institutional_object.22| Workbook and event: an institutional object]]<br />
***[[5_Reflection,_theorization_of_projects#Wrap_Up_3| Wrap up]]<br />
** [[5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_against_immunization| Boxing and Unboxing]]<br />
*** [[5_Reflection,_theorization_of_projects#Boxing_Club_.E2.80.93_Sparring | Boxing Club – Sparring]]<br />
*** [[5_Reflection,_theorization_of_projects#Boxing_and_Unboxing_.E2.80.93_community.2C_immunity_and_the_figure_of_the_.22proper.22| Community, immunity and the figure of the "proper"]]<br />
** [[5_Reflection,_theorization_of_projects#What.27s_next| What's next]]<br />
** [[5_Reflection,_theorization_of_projects#Notes_.28Reflection.2C_theorization_of_projects.29| Notes (Reflection, theorization of projects)]]<br />
* [[6 Analysis: Micro-politics of Publishing | Analysis: Micro-politics of Publishing]]<br />
**[[6 Analysis: Micro-politics of Publishing#Collectivity| Collectivity]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Naming| Politics of naming]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Fixing| Politics of fixing]]<br />
**[[6 Analysis: Micro-politics of Publishing#Politics_of_Mediating:_the_prop.2C_the_third_object.2C_and_institutional_pedagogy| Politics of Mediating: institutional pedagogy ]]<br />
** [[6 Analysis: Micro-politics of Publishing#Politics_of_Citing | Politics of citing ]]<br />
** [[6 Analysis: Micro-politics of Publishing#How_could_we_imagine_authorship_without_ownership.3F | How could we understand authorship without ownership ]]<br />
*** [[6 Analysis: Micro-politics of Publishing#It_doesn.27t_matter_who_is_speaking | It doesn't matter who is speaking]]<br />
***[[6 Analysis: Micro-politics of Publishing#It_does_matter_who_is_speaking:_a_feminist.2C_decolonial_perspective | It does matter who is speaking: a feminist, de-colonial perspective]]<br />
** [[6 Analysis: Micro-politics of Publishing#A_more_flexible_idea_of_authorship_altogether:_from_.22output.22_to_.22input.22:_contingent.2C_contextual | A altogether more flexible idea of authorship: From Output to Input]]<br />
**[[6 Analysis: Micro-politics of Publishing#Milieu:_Compost._Feeding.2C_digesting.2C_excreting | Compost: feeding, digesting, excreting]]<br />
** [[6 Analysis: Micro-politics of Publishing#Authorship.2C_authorization.2C_authority:_remarks_on_the_collaborative_wiki | Authorship, authorization, authority: remarks on the collaborative wiki]]<br />
** [[6 Analysis: Micro-politics of Publishing#Notes_.28Analysis.29 | Notes (Analysis)]]<br />
* [[7_References|References]]<br />
* [[8 My integrated circuit| My integrated circuit]]<br />
* [[Appendix_1*Let%27s_Mobilize_Revisited|Appendix 1*Let's Mobilize Revisted]]<br />
* [[Appendix 2*Interview with Femke Snelting|Appendix 2*Interview with Femke Snelting (Constant)]]<br />
* [[Appendix_3*Rosalie%27s_visual_comments|Appendix 3*Rosalie's Visual Comments]]<br />
* [[Svensk abstract| Svensk abstract]]<br />
* [[Svensk sammanfattning|Svensk sammanfattning]]<br />
* [[ArtMonitor|ArtMonitor]]</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11603Main Page2020-10-13T08:10:17Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<b>Public Defense</b>: November 5, 2020<br/><br />
<br clear=all><br />
[[File:Logo ArtMonitor.png|100px|link=]] This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116024 Summary of projects and submitted material2020-10-13T08:07:53Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Publishing as Social Practice poster.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/> <br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116014 Summary of projects and submitted material2020-10-13T08:06:54Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br/><br />
→[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=116004 Summary of projects and submitted material2020-10-13T08:05:48Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br />
[http://wiki.evaweinmayr.com/images/0/0b/Publishing_as_Social_Practice_program.pdf Download program]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=File:Publishing_as_Social_Practice_program.pdf&diff=11599File:Publishing as Social Practice program.pdf2020-10-13T08:04:10Z<p>Eva: Program, Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019.
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Ev...</p>
<hr />
<div>== Summary ==<br />
Program, Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019.<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=File:Publishing_as_Social_Practice_poster.jpg&diff=11598File:Publishing as Social Practice poster.jpg2020-10-13T08:01:30Z<p>Eva: Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019.
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmay...</p>
<hr />
<div>== Summary ==<br />
Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019.<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=115974 Summary of projects and submitted material2020-10-13T08:00:49Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br/><br />
Participants: Mela Dávila, Thomas Millroth, Olivia Plender, Eva Weinmayr, Carla Zaccagnini.<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=115964 Summary of projects and submitted material2020-10-13T07:56:29Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb (presentation) at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Context: "Publishing as a Social Practice is a two-day encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action are emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labor. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratize an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore, we wish to build a net of affections between people interested in collective labor, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally, we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
<br />
Convened by Helena Fernández-Cavada in collaboration with curator at Ystad Art Museum, Felicia Tolentino. <br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=115954 Summary of projects and submitted material2020-10-13T07:47:44Z<p>Eva: /* Situated Collective Publishing: Less Noun, More Verb, at Publishing as Social Practice, Ystads konstmuseum, November 21-22, 2019 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb (presentation)<br/> at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Publishing as a social Practice is a two days encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action is emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labour. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratise an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community, or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore we wish to build a net of affections between people interested in collective labour, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
This collective encounter is formulated by visual artist Helena Fernández-Cavada in collaboration with Felicia Tolentino, curator at Ystad Art Museum.<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=4_Summary_of_projects_and_submitted_material&diff=115944 Summary of projects and submitted material2020-10-13T07:46:58Z<p>Eva: /* Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), at We Publish, Kunsthalle Bern. January 16–17, 2020 */</p>
<hr />
<div><br />
I have mapped a range of practices, concepts, and interventions that form a broad context for this practice-based inquiry in chapter 03*Survey of the field. The current chapter now offers an overview of the long-term collaborative projects I have carried out ("Projects"), the pamphlets, essays, and articles I have (co-)published ("Published, Fixed") and the event-based activities, such as teaching, workshops, presentations, discussions, and think-ins ("Discursive, Unfixed").<br />
<br />
This inquiry consists of a string of related practical experiments I performed during my artistic career between 1998 and 2020. The projects attempt to rethink acts of publication, distribution, and consumption. They articulate enclosures, exclusions, and oppressions originated by dominant power structures. They experiment with developing different models that facilitate an emancipatory, intersectional feminist, and to some extent decolonial knowledge formation. As such, they can be described as counter-political projects that are held against dominant approaches to the range of practices outlined above. <br />
<br />
One characteristic of these experiments is that most of them are collaborative. They often developed as responses to specific problems. These vastly different instances cannot be understood within a conventional publishing framework. Instead, they fall into the expanded category of knowledge practices. <br />
<br />
A pivotal common approach to these experiments is that making works "about politics" was not the overt intention. Instead, the aim was to find operational models to work counter-politically – through the 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 is that they can all be seen in relation to institutions – with some being commissioned by, others being situated in, institutions (with or without an official mandate). A third group operates "exstitutionally", 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 />
</br><br />
<br />
=<b>Projects</b>=<br />
In the following, I give a brief summary over the five practice projects, each 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|Project_1_*_AND_Publishing|see project 1: AND Publishing}}<br />
<br />
[[File:AND_Publishing_webpage.png|400px|link=http://andpublishing.org/|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 departing 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 a mandate, at Byam Shaw School of Art in North London as an indie-university press, publishing works of students, staff, and alumni in an equitable and non-hierarchical manner. In addition to exploring the immediacy and social possibilities of print on demand and new modes of distribution, AND also investigates the social agency of cultural piracy. AND is also invested in radical and feminist pedagogy, building informal support structures by sharing a studio, providing resources, advice, access to skills, means of production and distribution. AND re-distributes budgets, commissions work, and (re-)publishes difficult to find material. AND was co-founded by Lynn Harris and Eva Weinmayr. Andrea Francke worked temporarily with AND, and Rosalie Schweiker joined in 2015. AND's 10-year long practice forms the basis and context for the artistic projects submitted for this PhD.<br />
<br />
<br clear=all><br />
<br />
==Library of Inclusions and Omissions <br/>(2016–ongoing)==<br />
{{Interlink|Project_2_*_Library_of_Inclusions_and_Omissions|see project 2: Library of Inclusions and Omissions}}<br />
[[File:LIO-AND Publishing.jpg|400px|link=|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 shelves. The collection is available to the public via temporary reading rooms. The library gathers feminist, intersectional, and 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 yet to be discovered, suppressed, or otherwise not acknowledged material? Can this turn a library from a repository of knowledge into a space of social and intellectual encounters? The project's framework is initiated by Eva Weinmayr and developed through the input of many contributors. <br/> <br />
<br />
<br clear=all><br />
<br />
==The Piracy Project – with Andrea Francke and multiple collaborators <br/>(2010–2015)== <br />
{{Interlink|Project_3_*_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 />
<br />
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 />
The project is a collaboration with artist Andrea Francke and flourished through book contributions and criticality of a wide range of contributors.<br />
<br clear=all><br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? three-day mobilization and workbook – with feminist pedagogy working group, HDK-Valand, University of Gothenburg <br/>(2015–16)== <br />
{{Interlink|Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|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?, HDK-Valand, October 14–16, 2016.]]<br />
<br />
Let's Mobilize: What is Feminist Pedagogy? is a collective investigation into intersectional feminist and queer pedagogies, that led to the organization of a three-day international mobilization at HDK-Valand, University of Gothenburg, in October 2016. The working group was formed due to the desire to articulate and create a space for queer and feminist perspectives on learning and teaching inside and outside of the art academy. The feminist pedagogies working group consisted of students, staff, and administrators at the art academy. Its aims included: 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 decolonial pedagogies. This took place in bi-weekly lunchtime meetings that were open to the whole academy. <br />
<br />
In a second step, the group worked towards organizing an international conference (mobilization) to fundamentally rethink how knowledge is produced, transmitted, and disseminated. We were interested in finding strategies to adjust the Eurocentric 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. The core working group consisted of Kanchan Burathoki, Rose Borthwick, Gabo Camnitzer (2015), MC Coble, Andreas Engman, and Eva Weinmayr.<br />
<br />
<br clear=all><br />
<br />
==Boxing and Unboxing, Research Residency, Marabouparken konsthall, Stockholm – with Rosalie Schweiker <br/> (April–August 2018)==<br />
{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5: Boxing and Unboxing}}<br />
[[File:AND Boxing and Unboxing poster lowres.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 />
<br />
Boxing and Unboxing is a collaborative project to learn how to "box" and "unbox" taking place in the context of AND Publishing's six-month research residency at Marabouparken konsthall in Stockholm in 2018. It started with a set of questions: Where do we put the many things we are doing that don't fit into boxes? What are the problems with categorization? Why do we not want a unified face? How can we subvert the social pressure to produce faces? Why would we go on a residency when we struggle to pay rent at home? Where can we store our boxes? Who gives in? Who compromises? Who accommodates? Who cares? Do we need a new, less tired, and exclusive language to talk about all this? And how do you document laughter?<br />
<br />
Together with curator Jenny Richards, AND organized a two-week boxing training for self-identifying women that were free and open for all abilities, ages (16+), shapes and religions. We were curious to learn about non-verbal negotiation, care, anger, dialogue, transgression, and defense. It was an experiment to explore whether sparring, when defined as physical play and not geared towards victory or defeat, could help to rehearse ways to relate to each other in other areas.<br />
<br />
This project was developed by Rosalie Schweiker and Eva Weinmayr (AND Publishing), with curator Jenny Richards (Marabuparken konsthall).<br />
<br />
<br clear=all><br />
<br />
<br/><br />
<br />
='''Published (Fixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Against Immunization: Boxing as a Technique for Commoning (exhibition, score),<br/> at <i>Open Scores – How to Program the Commons</i>, Panke Gallery Berlin, September 21 – October 12, 2019==<br />
<br />
[[File:Unboxing Calendar-conflicts.jpg|thumb|left|300px|link=]]<br />
With this exhibited score I propose to rethink the concept of the commons in a counterintuitive fashion. <br />
If we conceive of boxing not as a concept related to 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 />
<br />
In the exhibition "Open Scores – How to program the Commons", curated by <i>Creating Commons</i> (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder). Panke Gallery Berlin, September 21 – October 12, 2019. 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), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), 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 />
→[http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
→[https://www.panke.gallery/exhibition/open-scores/ See website: Panke Gallery]<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Micropolitics of Publishing (video interview), September 15, 2018==<br />
[[File:Eva Weinmayr–Creating Commons interview.jpg|thumb|left|300px|link=http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/]]<br />
In this podcast Cornelia Sollfrank talks with Eva Weinmayr about AND Publishing's contingent and contextual publishing practice, about collectivity and tactics for escape regimes of authorship and ownership, and the relationship between an expanded understanding of publishing and feminist pedagogy. <br />
<br />
The interview was conducted in the context of the research meeting "Tools and Infrastructures" at House of Electronic Arts (HeK), Basel, September 13–16, 2018, as part of "Creating Commons", a research project by Shusha Niederberger, Cornelia Sollfrank and Felix Stalder at the Institute for Contemporary Art Research, Zürich University of the Arts, (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/the-micropolitics-of-publishing-interview-with-eva-weinmayr/ Watch podcast &#x1F50A;]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See research platform: Creating Commons]<br/><br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Boxing and Unboxing (calendar)==<br />
[[File:AND-Unboxing calendar 2018.jpg|thumb|300px|left|link=]]<br />
<br />
A spiral-bound calendar, edited and produced by AND Publishing (Rosalie Schweiker and Eva Weinmayr), contains collages produced by the participants of the boxing classes. It includes a step by step guide of warming up exercises and an introduction to basic boxing techniques. Jokes, motivational quotes and exercises are also included next to a text by Ar Parmacek in her role as an observant participant. In contrast to a book on the shelf, a calendar on the wall is a publication genre that accompanies the reader day by day and, therefore, embeds its topics and visuals into the everyday life of the reader: a year of daily boxing and unboxing. <br />
<br clear=all><br />
<br />
→[http://wiki.evaweinmayr.com/index.php?title=Pages_from_Boxing_and_Unboxing_Calendar,_AND_Publishing,_2018 Look inside the calendar]<br />
<br />
<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Confronting Authorship, Constructing Practices – How copyright destroys collective practice (book chapter)==<br />
[[File:Whose book is it anyway4.jpg|thumb|300px|left|link=]]<br />
This chapter investigates the coercive relationship between authorship and copyright from the perspective of intersectional feminist knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland, The Piracy Project) that try to challenge the close ties between copyright and authorship – with very different outcomes – I map the blockages and contradictions that an understanding of authorship grounded in possessive individualism creates for critical art, education, and collective knowledge practices. <br />
<br />
Trying to politicize individual authorship I investigate its construction by legal, economic, and institutional frameworks and subsequently ask 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. <br />
<br />
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 book chapter][[File:Pdf.jpg|30px|link=]]<br/><br />
→ [https://www.openbookpublishers.com/product/925 See the full book on Open Book Publisher website]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==More Verb, Less Noun – Publishing as Collective Practice (printed interview)==<br />
[[File:Netletter lowres.jpg|thumb|300px|left|link=]]<br />
<br />
In this interview, Eva Weinmayr and Jinglun Zhu discuss modes of production and dissemination of underground publications, the politics of authorship and reproduction, and publishing in relation to collaborative knowledge practices. The conversation also offers insights on modes of collectivity in higher education and methods for archiving ephemeral materials.<br />
<br />
In <i>CCS Recollection 1: The Netletter</i>, edited by Evan Calder Williams, Centre for Curatorial Studies CCS Bard, Annandale/New York, 2019</br></br><br />
→ [https://www.filepicker.io/api/file/YiSMiDOQ2mSzevoHHO2g Download publication][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==One publishes to find comrades (book chapter)==<br />
[[File:Eva Weinmayr–One publishes to find comrades-5.png|left|thumb|300px|link=]]This book chapter examines how collective techniques of publishing can initiate a social process where printed publications, posters or zines are not necessarily an end product that attempt to convince someone of something, but rather as a method for "working towards establishing conditions for the co-production of meaning." (Shukaitis, 2014)<br />
<br />
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 />
Republished in <i>It's a book</i>, Academy of Fine Arts Leipzig, 2017 </br><br />
Republished in [https://mitpress.mit.edu/books/publishing-manifestos<i>Publishing Manifestos</i>], edited by Michalis Pichler, Cambridge MA, The MIT Press, 2018. <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/75/Eva-Weinmayr_One-publishes-to-find-comrades_Spector_Books.pdf Download book chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==UND statt ODER – die Anatomie von UND (interview)==<br />
[[File:Interview Kunstforum UND statt Oder.jpg|left|thumb|300px|link=http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf]]<br />
In this interview, Annette Gilbert, Rosalie Schweiker and Eva Weinmayr 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 joys such a contextual, contingent, informal, supportive and precarious practice involves.<br />
The interview is published in an anthology about contemporary artists' publishing. <br />
</br></br><br />
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/> <br />
→[http://wiki.evaweinmayr.com/images/8/87/Kunstforum_International_%22Publish%21%22_%E2%80%93_AND_interview.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Rethinking where the thinking happens (public interview)==<br />
[[File:Study day interview Sarah Kember Rethinking where the thinking happens-lowres.jpg|left|thumb|300px|link=]]<br />
<br />
In this public conversation Eva Weinmayr asks Sarah Kember, co-founder and director of Goldsmiths Press, London about her plans to set up a new experimental academic press at Goldsmiths, and the problems and opportunities of open access publishing. <br />
<br />
This conversation was recorded and transcribed, and took place on July 8, 2015 at Chelsea College of Art and Design during "Study Day – Why Publish?", the University Gallery and Archives, a joint research project by Joyce Cronin (Afterall), Karen Di Franco (Chelsea Space) and Eva Weinmayr (AND Publishing). Funded by Curriculum Development, Student Enterprise and Employability (SEE), University of the Arts, London.<br />
<br />
Published by AND Publishing, London, 2015, republished in <i>Let's Mobilize: What is Feminist Pedagogy?</i>, edited by Feminist Pedagogy Workgroup (Kanchan Burathoki, Rose Borthwick, MC Coble, Andreas Engman, Gabo Camnitzer, Eva Weinmayr), HDK-Valand, Gothenburg, 2016. </br></br><br />
<br />
→ [http://andpublishing.org/sarah-kember-rethinking-where-the-thinking-happens/ Read online: AND Publishing, London, 2015]<br/><br />
→ [http://wiki.evaweinmayr.com/images/e/e6/Kember-Rethinking_where_the_thinking_happens_AND%2C_2015.pdf Download interview][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Radical publishing practice requires radical librarianship (twitter thread)==<br />
[[File:Eva Weinmayr Twitter Thread-KHM Cologne-5.jpg|left|thumb|300px|link=https://twitter.com/EvaWeinmayr/status/1014986915878227969]]<br />
<br />
This publication was published live via a twitter thread during my presentation at the symposium "Artists as Publishers as Artists". Experimenting with citational practice and the act of sharing bibliographies, the thread published the references used, (videos, images and texts) for the audience to later revisit.<br />
<br />
Part of the panel "Publishing to Mobilize Knowledge", this presentation discusses 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 privilege, or exclude knowledges that don't fit into the established categories? <br />
<br/><br />
<br/><br />
At [https://www.khm.de/ipaap/"Artists as Publishers as Artists"], KHM University of Media Arts, Cologne, July 6, 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/><br />
<br/><br />
→ [https://twitter.com/EvaWeinmayr/status/1014986915878227969 See Twitter thread]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Dear Hannah (pamphlet)==<br />
[[File:Dear hanna lowres.jpg|thumb|left|300px|link=]]<br />
Written in epistolary form, this short text shares concerns related to my participation in the 57th Venice Biennale. It reflects on issues of co-option, collective and community-based work, 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/><br />
<br/><br />
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. Curated by Jan Kaila and Henk Slager.<br/><br/><br />
→[http://evaweinmayr.com/wp-content/uploads/Dear-Hanna-pamphlet-Venice.pdf Download pamphlet][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy? workbook==<br />
[[File:Let's Mobilize workbook assembly.png|thumb|300px|left|link=]]<br />
This workbook was edited produced and disseminated by the Feminist Pedagogy workgroup at HDK-Valand Academy in Gothenburg (Rose Borthwick, Kanchan Burathoki, Gabo Camnitzer, MC Coble, Andreas Engman, Eva Weinmayr). In connection with the three-day international event "Let's Mobilize: What is Feminist Pedagogy?, its aim was to invite students and staff into a critical discussion on topics of queer, decolonial intersectional and feminist pedagogies in the arts. It contains contributions by Rudy Loewe, Jenny Tunedal, Johanna Gustavsson and Zafire Vrba, Annette Krauss, Charlotte Cooper, Bedfellows, Sarah Kember and Eva Weinmayr, Red Ladder Theatre, Andrea Phillips, Sara Ahmed, Alison Bechdel, Kajsa Eriksson, Kajsa Widegren, Dean Spade, Sophie Vögele (art.school.differences), Eve Tuck and K.Wayne Yang, Rosalie Schweiker, See Red Womens Workshop, Isabell Lorey, Lisa Godon, Martin McCabe, Mick Wilson, Hajar Alsaidan.<br />
<br />
It was disseminated locally via a public assembling day in the entrance hall of HDK-Valand, and in the form of a walkable book, and internationally through AND Publishing (London), and Printed Matter (NY). <br />
</br><br />
</br><br />
→[http://wiki.evaweinmayr.com/images/2/2f/Published_workbook_Lets_Mobilize_2016.pdf| Download ''Let's Mobilize: What is Feminist Pedagogy?'' workbook][[File:Pdf.jpg|20px|link=]]</br><br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – a reading list for a coming community (book chapter)== <br />
[[File:Library Underground lowres.jpg|thumb|left|300px|link=http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf]]<br />
Written in the form of an informal conversation between Eva Weinmayr and her inner voice, this book chapter discusses practices of radical librarianship and underground dissemination. It touches on a set of examples reaching from the informal distribution strategies of the <i>Whole Earth Catalog</i> to the radical librarian movement in California in the 70s (Celeste West, Sanford Berman) to contemporary shadow librarianship (aaaaarg, Memory of the World, The Piracy Project). Concerns and questions about the original scope of public libraries to provide 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 how can we deal with the implicit biases in the organization and classification of knowledge?<br />
<br/><br />
<br/><br />
In [https://www.sternberg-press.com/product/publishing-as-artistic-practice/ <i>Publishing as Artistic Practice</i>], edited by Annette Gilbert, 157–187. Berlin/New York: Sternberg Press, 2016.<br />
<br/><br />
<br/><br />
→[http://wiki.evaweinmayr.com/images/6/65/Eva-Weinmayr_Library-Underground_Sternberg_Press.pdf Download chapter][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Library Underground – welcome to my tent (performative reading/video)== <br />
[[File:Library Underground–welcome to my tent-film still lowres.png|left|thumb|300px|link=http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/]]<br />
This video presents a filmed performance lecture of the above book chapter that, in revised and updated form, was performed inside a trekking tent installed at HDK-Valand's main lecture hall. The audience listened to the voices speaking inside the tent and watched a live video transmission of the happenings inside that was projected 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 />
<br />
At the symposium "Photography in Print and Circulation," convened by Louise Wolthers (Hasselblad Foundation), Niclas Östlind, (HDK-Valand) /HDK-Valand, 2016.<br />
<br/><br />
<br/><br />
→[http://evaweinmayr.com/work/library-underground-welcome-to-my-tent/ Watch video &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== We don't want this to turn into an exhibit (book chapter)==<br />
[[File:Archivo Communo.jpg|thumb|300px|left|link=]]Based on a presentation manuscript this chapter reflects on the ways the Piracy Project reading rooms can operate as a starting point for critical reflection (workshops), discourse (discussions) and policy debate. It reflects on the possibilities and limitations of (i) the project as exhibition, (ii) the project as a discursive device, (iii) the project situated in a community of practice. The workshop brought together practitioners and theoreticians with the aim to share strategies and experiences how to turn an archive from being a repository into a space of social, intellectual, and political encounter. <br />
<br />
Workshop "Socialising Archives" during symposium "Archives of the Commons II – The Anomic Archive", Museo Nacional Reina Sofia in Madrid, 2018, chaired by Mabel Tapia.<br />
<br />
In the book <i>Archivos del Común II: El Archivo Anómico</i>, (Spanish) edited by Fernanda Carvajal, Mela Dávila Freire, Mabel Tapia, designed by Lucía Bianchi and Ramiro Alvarez, published by Ediciones Pasafronteras - Red Conceptualismos del Sur, 2019.<br/><br/><br />
→[https://redcsur.net/es/2019/12/30/libro-archivos-del-comun-ii-el-archivo-anomico Download book (Spanish, 98 MB)][[File:Pdf.jpg|20px|link=]]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/16._OK_Weinmayr-Piracy_Project-lres-EW.pdf Download presentation manuscript (English)][[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== 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 />
<br />
[[File:Piracy Project Reader–lowres.jpg|thumb|left|300px|link=]]<br />
The title of this publication is a long list of terms that are broadly concerned with piracy, insofar as they reflect different relationships to somebody else's work. Each term will be explored in a chapter in the book. The first version (2014) includes a range of essays while other terms/chapters are still to be explored and written. As such the book is an ongoing and open-ended reader, to be developed 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 />
<br />
The aim of this specific model of editorial work was to use publication not as an endpoint of a process, but to initiate or feed into a discourse that in turn feeds back into the book. This dialogical slow-growth approach was supported by the funding model. People bought shares in one of the terms that they wished to be explored in form of a future essay.<br />
<br />
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/><br />
Edited by Andrea Francke and Eva Weinmayr. Pulished, designed and produced by AND Publishing, London, 2014.<br />
<br/><br/><br />
→[http://wiki.evaweinmayr.com/images/7/76/AND_Publishing_Piracy_Project_Reader_2014.pdf Download book][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==The Impermanent Book, co-authored with Andrea Francke (essay)==<br />
[[File:Piracy Project Jaime Bayly2 lowres.jpg |thumb|left|300px|link=]] <br />
<br />
The essay discusses the potential unease and unsettlement that the instability of digital print poses to the assumed authority of the mass-produced printed book. It argues that the prevailing understanding of a book as a fixed and immutable object is partly due to the industrial printing press. The emergence of digital print and print-on-demand, can arguably change this perception, as digital print allows for continuous changes, adaptions, and revisions. The text discusses the effects of such versioning on the reader. What happens when books become unreliable objects? When one copy of a book potentially tells a different story than the other copy of the same title? <br />
<br />
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/><br />
→[http://rhizome.org/editorial/2012/apr/19/impermanent-book/ Read essay on Rhizome.org]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Outside the Page, Making Social Realities With Books (chapter)==<br />
[[File:Let's Mobilize Walkable Book.jpg|thumb|300px|left|link=]]<br />
This chapter examines the ways in which a publication can engage with the temporality and situatedness of reading practice. Using two examples, Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974) and <i>Let's Mobilize: What is Feminist Pedagogy?</i> workbook (2016), the chapter studies the different ways the medium-specific characteristic of "the page" as a sequencing method have been expanded and redefined through readers' engagement with the book.<br />
Marcel Brodthaers' <i>Voyage on the North Sea</i> (1974), a two-part work consisting of a film and a book, creates interdependency between the temporality of the visual narrative in the book and the reader's actual temporality while flipping through the pages of the book.<br />
<i>Let's "Mobilize: What is Feminist Pedagogy? workbook</i>, a contextual publishing experiment by the Feminist Pedagogy workgroup at HDK-Valand Academy of Art and Design (2016), turns the art academy into a walkable book , through the pasting of its pages on the walls of the building. Both works, as I argue, are an attempt to "socialize" the book. <br />
<br />
In <i>The Filmic Page</i>, "On Curating" ZHdK Zürich, edited by Chiara Figone, Paolo Caffoni and students of Nuova Accademia di Belle Arti Milano (NABA), forthcoming issue <br/><br/><br />
→[http://wiki.evaweinmayr.com/images/5/5b/Draft_Eva_Weinmayr_Outside_the_Page-watermark.pdf Download chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
<br />
==Help! David Cameron Likes my Art (book chapter)==<br />
<br />
[[File:Distributed lowres.jpg|thumb|left|300px|link=]] <br />
This text narrates the course of events triggered 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 10 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/><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 preprint version of book chapter] [[File:Pdf.jpg|20px|link=]]<br />
|}<br />
<br/><br />
<br/><br />
<br/><br />
<br />
='''Discursive – teaching, workshops, presentations, discussions, think-ins (Unfixed)'''=<br />
<br />
{| class="wikitable"<br />
|<br />
== Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality (presentation), <br/> at ''We Publish'', Kunsthalle Bern. January 16–17, 2020==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "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 address this phenomenon by means 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?" (announcement)<br />
<br />
Presentation: In the presentation "Radical Publishing Practices Demand Radical Librarianship: Perspectives and Framing Under the Disguise of Neutrality" I discuss the political nature of cataloging practices. 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 are also, arguably, disciplinary institutions. They determine what is validated and legitimized as relevant knowledge and how this material is framed and represented in the catalog, which as I will claim, constitutes a meaning-making structure itself. 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 inherent dilemma, since each standard and category valorizes a particular point of view and in detriment of all others.<br />
<br />
The conference took place as part of the exhibition “We publish – editing, design, production and distribution of independent magazine formats in Switzerland since 1960” (Kunsthalle Bern, December 20, 2019 – February 2, 2020). Conference 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/><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/><br/><br />
→[http://www.wir-publizieren.ch/en/ See "We Publish" website]<br/><br />
→[https://vimeo.com/387433989 Watch podcast &#x1F50A; ]<br/><br />
→[http://wiki.evaweinmayr.com/images/5/5d/2019-11-10_Wir_Publizieren_Poster_Flyer_0000_TOMAIL_72dpi.pdf See flyer, program]<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
== Situated Collective Publishing: Less Noun, More Verb, at <i>Publishing as Social Practice</i>, Ystads konstmuseum, November 21-22, 2019 ==<br />
[[File:Wir publizieren, Bern Trinh T. Minh-ha.jpg|thumb|left|300px|link=]]<br />
Publishing as a social Practice is a two days encounter to discuss different modes of publishing to highlight their collaborative and experimental implications. <br />
We would like to stress and consider publishing as a way to establish collaborative processes, not only for the dissemination of non-institutionalized knowledge or the presentation of alternative narratives but to enforce modes of relation, acting and working together. <br />
That is why the main focus of this meeting is to highlight publishing projects in which the relationship, engagement and support of the collective action is emphasized. To think together on questions regarding political and emotional implications that these modes of collaboration have, and to inquire questions of authorship and collective labour. <br />
Moreover, we will also dedicate time to think, from an institutional point of view, how to collect and democratise an archive of printed matter. It is important for us to discuss different cases of study that introduce strategies on how a collection can involve a neighboring community, or procedures where the archive is rewritten and activated periodically with the users. <br />
Last but not least, we believe that publishing involves “many” in the process and we would like to celebrate these collective forms. Furthermore we wish to build a net of affections between people interested in collective labour, to get inspiration by looking to different projects and discussions that can trigger key questions concerning publishing. Finally we would like to encourage institutions in the south of Sweden to support the local scene by collecting and funding these forms.<br />
This collective encounter is formulated by visual artist Helena Fernández-Cavada in collaboration with Felicia Tolentino, curator at Ystad Art Museum.<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Moments of Autonomy. Feminist educational practices for the digital commons (think-in),<br/> at <i>Open Scores – How to program the Commons</i>, convened by Creating Commons @ Panke Gallery, Berlin. October 12, 2019==<br />
[[File:MOMENTS OF AUTONOMY TECHNOFEMINIST EDUCATIONAL STRATEGIES.jpg|thumb|left|300px|link=]]<br />
<br />
Context: This one-day workshop gathered a group of participants around a table to exchange experiences, compare methodologies, and develop strategies for feminist educational practices and digital commoning: "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 for transforming what has been learned into a collective agency and empowering strategies for desired change?" (announcement)<br/><br />
<br />
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). Studio, Künstlerhaus Bethanien, Berlin, organized by Cornelia Sollfrank and Shusa Niederberger.<br/><br />
<br />
→ [https://www.panke.gallery/event/open-scores-moments-autonomy/ See website: Panke Gallery]<br/><br />
→ [http://creatingcommons.zhdk.ch/ See website: Creating Commons ]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Situated Collective Authorship (propositive input),<br/> at ''Authors of The Future: Re-imagining Copyleft Studyday'',<br/> Constant, Brussels, hosted by Institut Supérieur pour l’Étude du Langage Plastique (ISELP, Brussels). September 27, 2019==<br />
[[File:Authors of the Future study day.jpg|thumb|left|300px|link=]]<br />
Context: "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 a difficult 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: 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?" (announcement)<br />
<br />
Presentation: I discuss how we could come to a different understanding of authorship altogether, one that is radically situated and contextual. If we understood an author as an instigator – maker, doer, teacher, as somebody who "causes something" – such a definition would (i) expand the role of the author beyond being a creator of "outputs" or discrete objects that are bound to a tangible and fixed form and (ii) it would instigate a change in evaluation, reference and license practices.<br />
<br />
Speakers:<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 Listen to podcast: 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 Listen to podcast: 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 Listen to podcast: 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/ Listen to podcast: Potential Authorship &#x1F50A;]<br/><br />
<br />
→[http://constantvzw.org/site/Authors-of-the-future-Re-imagining-Copyleft.html See website: Authors of The Future: Re-imagining Copyleft Studyday]<br />
<br />
|}<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Library Talks (presentation), at Rietveld and Sandberg Library, Amsterdam. September 24, 2019 ==<br />
[[File:Rietveld Library Talk lowres.jpg|thumb|left|300px|link=]]<br />
Context: Gerrit Rietveld Academy & Sandberg Institute holds a monthly series of Library Talks in which invited guest speakers introduce 10 books that have been important to their practice. These books will be acquired for the library collection.<br />
The idea behind this series is (i) to show the different voices that inform the guest speakers' practice and (ii) to practice a new form of library acquisition, (iii) to introduce a different way to read the library collection. It can be explored through the library catalog and through the category "selection" that groups the 10 books together around the name of the guest speaker to trace their genealogy in the library collection.<br />
<br />
Presentation: I discussed 10 selected books that each developed a specific approach to attribution and credit in the colophon that reflect the collective work that went into the publication. The selected books are as follows: <br />
1) <i>Radical open Access – The Ethics of Care</i>, Disruptive Media Lab, Postoffice Press, Coventry University, 2018; <br/><br />
2)<i>Uncounted</i> by Emily Roysdon, Secession, Vienna, 2016; <br/><br />
3)<i> The Techno-Galactic Guide to Software Observation</i>, Constant Brussels, 2018; <br/><br />
4) <i>I think that conversations are the best, biggest thing that Free Software has to offer its users</i>, Constant Brussels, 2014; <br/><br />
5) <i>See Red Women's Workshop: Feminist Posters 1974–1990</i>, Four Corner Books, London, 2016; <br/> <br />
6) <i>The Feminist Bookstore Movement, Lesbian anti-racist and feminist accountability</i>, by Kristen Hogan, Duke University Press, 2016; <br/><br />
7) <i>Let’s Mobilize: What is Feminist Pedagogy?</i>, ed. Feminist Pedagogy Workgroup HDK-Valand, Gothenburg, 2016; <br/><br />
8) <i>Teaching for people who prefer not to teach</i>, ed. Rosalie Schweiker and Mirjam Bayersdörfer, London: AND Publishing, 2017; <br />
9) <i>Do the right thing, a manual from Malmö Free University for Women</i> Johanna Gustavvson and Lisa Nyberg, Malmö, 2010; <br/><br />
10) <i>Synergy Magazine Index of years 1967–71</i> San Francisco: Bay Area Reference Center, 1972.<br />
<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Interfacing the Law, with Femke Snelting (workshop), <br/> at XPUB, Piet Zwart Institute Rotterdam, Infrastructural Manœuvres @ Rietveld and Sandberg Library Amsterdam. May 9–10, 2019==<br />
[[File:Interfacing the law-Amsterdam lowres.jpg|thumb|300px|left|link=]]<br />
Context: 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 />
The two-day workshop (May 9–10, 2019) took place at Rietveld and Sandberg Library Amsterdam, and Piet Zwart Institute Rotterdam. Participants included students of XPUB-1 students at Piet Zwart Institute, Rotterdam and Femke Snelting (Constant), Ann Mertens (Constant), Martino Morandi (Infrastructural Maneouvres), Anita Burato (Infrastructural Manœuvres), Eva Weinmayr (Piracy Project, Library of Omissions and Inclusions).<br/><br/><br />
[http://constantvzw.org/w/?u=http://pzwiki.wdka.nl/mediadesign/Interfacing_the_law See website: Interfacing the law] <br/><br />
[https://pad.constantvzw.org/p/rietveld_library See collective notes: Rietveld and Sandberg Library]<br/><br />
[https://pad.xpub.nl/p/IFL_weynmayr See collective notes: Piet Zwart Institute] <br/><br />
<br />
<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Experimental Publishing #1, Critique, Intervention, Speculation (symposium), <br/> at Centre for Postdigital Cultures, Postoffice, Coventry University. April 11, 2019 ==<br />
<br />
[[File:LIO Coventry Experimental Publishing presentation.jpg|thumb|300px|left|link=|presentation slide]]<br />
Context: "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: (i) <i>an ongoing critique</i> 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; (ii) <i>an affirmative practice</i> that offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments; (iii) <i>a speculative practice</i> that makes possible the 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. 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." (announcement)<br />
<br />
Presentation: Discussing my publishing practice I try to answer the four questions posed in advance: <br/><br />
What is the state of publishing today?<br/><br />
How does your practice fit within this landscape?<br/><br />
Can experimental publishing be seen as (i) an ongoing critique, (ii) an affirmative practice, (iii) a speculative practice?<br/><br />
What is the future of experimental publishing?<br/><br />
<br />
Presentation and panel discussion with Rebekka Kiesewetter, convened by Janneke Adema and Kaja Marczewska.<br />
<br />
<br/><br />
→[https://www.post-publishing.org/2019/03/10/experimental-publishing-i-critique-intervention-and-speculation/ See website: Experimental Publishing #1, Critique, Intervention, Speculation Symposium]<br/><br />
→[https://postoffice.media/ Centre for Postdigital Cultures, Seewebsite: Postoffice]<br/><br />
→[https://www.post-publishing.org/videos/ Watch mini interview: Eva Weinmayr & Janneke Adema &#x1F50A;]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Creating Commons: Tools and Infrastructures (research meeting),<br/> at HeK, House of Electronic Arts, Basel. September 13–16, 2018==<br />
[[File:Creating Commons3-Tools and Infratstructures 2018.jpg|thumb|left|300px|link=]]<br />
<br />
Context: "The research project Creating Commons explores interstitial practices that open the space between <i>art</i> and </i>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 frameworks for this emerging field. Commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects." (announcement) <br />
<br />
Research Meeting: 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 were: (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 />
Participants: Shusha Niederberger (CC research project), Urban Sand (openki.net), Femke Snelting (Constant), Felix Stalder (CC research project), Mauricio O’Brian (goteo.org), Spideralex (feminist infrastructures), Panayotis Antoniadis (mazizone.eu / nethood.org), front row: Eva Weinmayr (AND publishing), Michael Murtaugh (Constant / Etherbox), Cornelia Sollfrank (CC research project), Daphne Dragona (Berlin), Lioudmila Voropaj (HFG Karlsruhe), Alessandro Ludovico (neural magazine).<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 (2017–20).<br/><br/><br />
→[http://creatingcommons.zhdk.ch/research-meeting-3-tools-and-infrastructures/ See website: Creating Commons: Tools and Infrastructures]<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Writer X, with Eleanor Vonne Brown (workshop), <br/> at ''X Publishing School'', Whitechapel Art Gallery London. September 8, 2018 ==<br />
[[File:Writer X X Publishing School thumbx.jpg|thumb|300px|left|link=]]<br />
Context: During the London Art Book Fair 2018, Eleanor Vonne Brown, founder of the independent publishing space X Marks the Bökship in London curated 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 book <i>Teaching and Learning as Performing Arts</i> (1970), 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." <i>Teaching and Learning as Performing Arts</i> can be described as a study of 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. <br />
<br />
Workshop: This workshop is a collaborative writing experiment 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 />
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 changing or refining the unfolding narrative.<br/><br />
<br />
Workshop conceived by Eleanor Vonne Brown and Eva Weinmayr<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 />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let's Mobilize: What is Feminist Pedagogy?, with Rose Borthwick (workshop),<br/> at ''Feminist Arts Education'', Institute for Art and Art Theory, Intermedia / Artistic Media Practice and Theory, Cologne University. May 30, 2017==<br />
[[File:Cologne University Workshop-02.jpg|thumb|300px|left|link=]]<br />
Context: Three decades ago, political scientist Carolyn M. Shrewsbury in her text "What is Feminist Pedagogy? "argued: "Feminist pedagogy begins with a vision of 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? <br />
<br />
Workshop: Rose Borthwick (HDK-Valand) and Eva Weinmayr (HDK-Valand) addressed these questions reflecting on their experiences of co-organizing the three-day international event "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand Academy of Arts and Design, 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, Labor für Kunst und Forschung, Cologne University<br/><br/><br />
→[http://www.laborfuerkunstundforschung.de/#workshops see website: Institute for Art and Art Theory, Feminist Arts Education]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
== Reading Gendered Words, with Rosalie Schweiker (workshop),<br/> at <i>Library Interventions</i>, Leeds College of Art. April 13, 2017 == <br />
[[File:Leeds-Library Interventions workshop-lowres2.jpg|thumb|left|300px|link=]]<br />
Context: "Reading Gendered Words" is a critical workshop in the series “Library Interventions” at Leeds College of Art that attempts to assess the opaque processes of cataloging in the college library. Questioning universalizing standards of library classification this one-day workshop shares strategies and experiences in developing context-based, user-centered, categorization schemes for particular collections. With Maria Fusco (Edinburgh College of Art) and Wendy Kirk (Glasgow Women Library), SPUR, and Rosa Nussbaum (artist, designer London), Rosalie Schweiker, Eva Weinmayr (AND Publishing, London).<br />
<br />
Workshop: This workshop reviews library science scholar Emily Drabinski’s claim, that classifications and subject headings are by their very nature “socially produced and embedded structures, that carry the traces of all the intentional and unintentional racism, sexism, and classism of the workers who create them”. During the workshop, we developed new, unconventional and user-centered categories for selected books which we borrowed from the “Library of Omissions and Inclusions”, a community-run reading room in Gothenburg gathering feminist, decolonial and intersectional materials.<br />
Workshop conceived by Rosalie Schweiker, Rosa Nussbaum, Eva Weinmayr.<br />
<br />
→[https://www.leeds-art.ac.uk/news-events/events-exhibitions/library-interventions-reading-gendered-words/ See website: Library Interventions, Leeds College of Art]<br />
|}<br />
<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==Let’s Mobilize! Here’s what we learned: Pedagogy and Social Justice, with MC Coble and Rose Borthwick (presentation),<br/> at <i>Exploiting Justice, Processes, Performances and Politics</i>, Symposium at the Centre for Interdisciplinary Gender Research, University of Gothenburg. October 27–28, 2016 ==<br />
[[File:Let's Mobilize at Exploiting Justice.jpg|thumb|300px|left|link= |presentation slide]]<br />
Context: "Justice is a multifaceted concept, in a Western context often related to the view that individuals have equal value, and the statement that all human beings should be treated equally. Much of the rhetoric, policy, legislation, practical action, and theoretical perspective on justice are anchored in a human rights framework. Theoretical presumptions about justice impact the understanding of what justice is or should be, and how it can or should be reached. Scholars within gender studies have analyzed and questioned these presumptions, as well as the political and legal manifestations of justice, and reflected on the many ways of understanding justice in relation to gender. Several of the different ways of understanding gender justice can be structured around two main aspects: gender justice as a question of identity and recognition; and gender justice as a question of rights and responsibilities and of distribution of these between men and women. During the last decades, this way of thinking gender justice based on a binary structure in which women and men are put in two separate categories has been challenged by queer theory and intersectional perspectives. This has at undermined, at least theoretically, the distinction women/men and shed light on the interplay between other aspects like, among others, class, sexuality, ethnicity, race, and function" (announcement).<br />
<br />
<br />
Presentation: In this open discussion we will reflect on the organization, processes, struggles, and future plans based on the three-day mobilization: "What is Feminist Pedagogy?" held at HDK-Valand, October 14–16, 2016. "Feminist Pedagogies – we use plural. We need to look at ideas, ways of interacting, working, and thinking which may not already be a part of our small communities and networks. There are many forms of pedagogy, such as critical, radical, queer, feminist. At times, these overlap and support each other or they challenge each other and are in conflict. In our view, feminist pedagogies start from an intersexual, intersectional, intergenerational and interdisciplinary attempt to face and change living in inequitable societies. This is not a luxury problem. Our commitment to feminism is far from an essentialist or separatist understanding of sex and gender. It is based on struggles against racism, classism, ableism, weightism, xenophobia, homophobia, transphobia and neoliberalism. Our social, cultural, and economic successes are based on structures of care and support, on reproductive as well as immaterial labor, which needs to be acknowledged and turned into non-exploitative relationships across families, corporations and governments. Practicing a feminist pedagogy is a good starting point to counter white, patriarchal, profit-oriented, euro-centrist academia. It is also a step towards policy-making, which does not privilege individual authorship and merit on the back of collective efforts. “Patriarchy has no gender.” (bell hooks, Teaching Critical Thinking: Practical Wisdom, 2010)" (announcement)<br />
<br />
</br></br><br />
→[http://wiki.evaweinmayr.com/images/c/c3/ExploitingJusticeA4_reviderad_eng.pdf See conference program][[File:Pdf.jpg|20px|link=]]<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|<br />
<br />
==What is an Artschool (presentation),<br/> at Chelsea College of Art, London. October 24, 2016==<br />
[[File:Let's mobilize collectively preparing food.jpg|thumb|300px|left|link=|Presentation slide.]]<br />
This presentation for students at Chelsea College of Art (BA, GD, BA) in the open seminar "What is an Art School" shared the strategies employed and insights gained with the collective organizing of "Let's Mobilize: What is Feminist Pedagogy?" at HDK-Valand, University of Gothenburg, Sweden. </br>The talk focused on three questions:</br><br />
How can you organize an event that does not reproduce hierarchies and normative roles and behaviors at the art school? </br><br />
In which way can the event be understood as research process-focused rather than outcome-focused?</br><br />
What is the role of collective actions, of doing and making together, such as cooking together in relation to the "discursive turn" at the art school? </br><br />
What was the role of the workbook (i) for the working group, (ii) for the participants, (iii) for others?<br />
<br />
|}<br />
<br />
<br />
{| class="wikitable"<br />
|</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11593Main Page2020-10-13T06:03:15Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<br clear=all><br />
[[File:Logo ArtMonitor.png|100px|link=]] This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11592Main Page2020-10-13T06:00:05Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<br clear=all><br />
[[File:Logo ArtMonitor.png|100px|link=]] This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11591Main Page2020-10-13T05:59:47Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br />
<br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11590Main Page2020-10-13T05:59:15Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
<br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11589Main Page2020-10-13T05:58:33Z<p>Eva: /* Spikbladet */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Logo ArtMonitor.png|100px|link=]] <br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11588Main Page2020-10-12T16:26:47Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Logo ArtMonitor.png|100px|link=]] <br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br/><br/><br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11587Main Page2020-10-12T16:25:56Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Logo ArtMonitor.png|100px|link=]] <br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11586Main Page2020-10-12T16:25:28Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Logo ArtMonitor.png|100px|link=]] <br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
<br />
<br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11585Main Page2020-10-12T16:24:20Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
<br />
<br />
[[File:Logo ArtMonitor.png|100px|link=]][[File:LO GUeng cen2.jpg|100px|link=]] <br clear=all><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11584Main Page2020-10-12T16:23:43Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
<br />
<br />
[[File:Logo ArtMonitor.png|100px|link=]][[File:LO GUeng cen2.jpg|100px|link=|left]] <br/><br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11583Main Page2020-10-12T16:23:09Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
<br />
<br />
<br />
<br />
[[File:Logo ArtMonitor.png|100px|link=]][[File:LO GUeng cen2.jpg|100px|link=|left]] <br />
This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.<br/><br/><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11582Main Page2020-10-12T16:21:57Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br />
<br clear=all><br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11581Main Page2020-10-12T16:21:38Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r <br clear=all><br />
[[File:LO GUeng cen2.jpg|100px|link=]]<br />
{|<br />
| [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11580Main Page2020-10-12T16:20:40Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r<br />
<br clear=all><br />
{|<br />
|[[File:LO GUeng cen2.jpg|100px|link=]] [[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11579Main Page2020-10-12T16:20:10Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r<br />
<br clear=all><br />
{|<br />
|[[File:Logo ArtMonitor.png|100px|link=]][[File:LO GUeng cen2.jpg|100px|link=]] <br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Evahttp://wiki.evaweinmayr.com/index.php?title=Main_Page&diff=11578Main Page2020-10-12T16:19:18Z<p>Eva: /* Colophon */</p>
<hr />
<div><br/>[[File:Rosalie-eva phd 43-lres.jpg|250px|left]]<br clear=all><br />
=Noun to Verb: an investigation into the micro-politics of publishing through artistic practice=<br />
<br />
This MediaWiki constitutes a Doctoral thesis which in combination with a portfolio of artistic works is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Artistic Practice at HDK-Valand – Academy of Art and Design, Faculty of Fine, Applied and Performing Arts, University of Gothenburg – supervised by Prof. Jyoti Mistry and Prof. Mick Wilson (2018–20), and Prof. Dave Beech and Prof. Andrea Phillips (2015–18).<br />
<br />
This open-source MediaWiki is a tool to develop, map, share, and communicate the writing of this PhD thesis. It is a platform for producing <i>and</i> disseminating the research. It records and maps a looped, iterative, and knowledge-creating process of structuring, writing, thinking, discovering, discarding, and restructuring. Finding practical ways to share and communicate my research has been an ongoing and, at times, difficult negotiation process between at least five forces seemingly pulling in different directions: academia, institutional policies, feminist and activist practice, the arts, and education.{{annotation|elephant}}<br />
<br />
The Wiki is a practical strategy to bring to life the standoff between those forces and thus make transparent the processes that are usually developed and discussed behind closed doors when a PhD thesis develops: the learning process, the struggle while articulating, the shaping of arguments, the various agreements and disagreements within my head and in dialogue with others.<br />
The customized code of this open-source MediaWiki, developed by Manetta Berends and Cristina Cochior (Varia, Rotterdam) includes an annotation feature for my collaborators in the collective projects to add their voices and perspectives. Here the wiki turns a PhD submission itself into a site of ruptures, dialogue, and potential disagreements.<br />
</br><br />
</br><br />
<br />
=Colophon=<br />
<b>Title</b>&nbsp; Noun to Verb: an investigation into the micro-politics of publishing through artistic practice</br><br />
<b>Author</b>&nbsp; Eva Weinmayr</br><br />
<b>Annotations</b>&nbsp; Andrea Francke, Andreas Engman, Femke Snelting, MC Coble</br><br />
<b>Visual Annotations</b>&nbsp; Rosalie Schweiker<br/><br />
<b>Coding</b>&nbsp; Manetta Berends & Cristina Cochior [https://varia.zone/en/ (Varia)]<br/><br />
<b>English proofreading</b>&nbsp; David Morris, Pedro Cid Proença<br/><br />
<b>Swedish translation</b>&nbsp; Astrid Trotzig<br/><br />
<b>Direct Link</b>&nbsp; https://cutt.ly/noun-to-verb</br><br />
<b>Open Access Repository</b>&nbsp; http://hdl.handle.net/2077/66644<br/><br/><br />
[[File:Copyleft.png|15px|left]]<b>Collective Conditions for (re-)use (CC4r), 2020</b><br />
:Copyleft with a difference: You are invited to copy, distribute, and modify this work under the terms of the CC4r. https://gitlab.constantvzw.org/unbound/cc4r<br />
<br clear=all><br />
[[File:LO GUeng cen2.jpg|100px|link=]] <br />
{|<br />
|[[File:Logo ArtMonitor.png|100px|link=]]<br />
|<br/><br/>This doctoral dissertation is No 81 in the series ArtMonitor Doctoral Dissertations and Licentiate Theses at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg.</br> <br/><br/><br />
|<br />
|-<br />
|<br />
|}<br />
<br />
=Spikbladet=<br />
<br />
=Abstract=<br />
<br/><br />
<b>Title:</b> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Noun to Verb: an investigation into the micro-politics of publishing through artistic practice <br/><br />
<b>Language:</b> &nbsp; English with a Swedish summary<br/><br />
<b>Keywords:</b> &nbsp; publishing, artistic practice, political imaginaries, policy, critical pedagogy, collectivity, intersectional feminism, authorship<br />
<br />
<br/><br />
This practice-based inquiry explores the social and political agency of publishing by investigating the micro-politics of making and sharing knowledges from an intersectional feminist perspective. Whether "bound" or "unbound," there has been much discussion of the political agency of the book as a medium, yet it is often assumed that the book's political potential extends primarily, indeed if not exclusively, in terms of its content. The focus of this inquiry, however, is the potentially radical, political and emancipatory ways and processes by which a publication is made (authored, edited, printed, bound), disseminated (circulated, described, cataloged), and read (used).<br />
<br />
The five projects at the core of this contribution have been developed collaboratively with different constellations of actors across the UK and Sweden and are comprised of: AND Publishing (2010–ongoing), The Library of Omissions and Inclusions (2016–18), The Piracy Project (2010–15), Let’s Mobilize: What is Feminist Pedagogy? (2015–16), and Boxing and Unboxing (2018). These five projects explore intersectional feminist publishing strategies and ask: What if we understood publication not as a finite object? What if we gave attention and value to the processes and practices that lead up to a publication? How can collective processes of publishing themselves be a tactic to practically intervene, disrupt and change existing knowledge practices?<br />
<br />
Located at the intersection of contemporary art, radical education, and institutional analysis, this inquiry critically investigates the presumption that publishing is an outright positive and progressive act, a tool of giving voice and developing emancipatory agency. It identifies the paradoxes, conflicts, and contradictions for collective knowledge practices caused by systems of validation and audit culture, by the stasis of the "finite" object and by the authority these discrete objects produce. The research stretches beyond these points by exploring the coercive mutual reciprocity between authorship, authorization, and authority.<br />
<br />
At its core, this inquiry aims to expand and test the normative criteria of what constitutes a publication. One of the emergent questions posed was whether publishing may be seen as a verb (a process) rather than a noun (i.e. the finished object). Could practice itself be understood as a form of publishing? A teaching situation, for example – a workshop, seminar, or group dialogue, where knowledge is collectively created and shared at the same time – could this also be considered as publishing? What kinds of publics are necessary or relevant to a publication process? A collaboration, a collective, a scene, a process, a dynamic, a method – can we frame any such situation or process as "publishing"? How fixed or stable does a transmission of knowledges need to be in order to be called a "publication"? And what is the function and effect of such stability?<br />
<br />
Since the communication of the research findings (in the form of a PhD thesis) itself constitutes a form of publication, I experimented with an open and dialogical mode of publishing in the form of a MediaWiki – developed “in public” from its very beginning. As such, it turns the thesis from constituting an authoritative text into a site for multiple voices with occasions of negotiation, disagreement, and consultation.</div>Eva