Filed under book | Tags: · archive, authorship, book, collaboration, community, copyright, hypertext, media, neoliberalism, open access, openness, print, publishing, scholarship, university, versioning, wiki
“Reimagining the scholarly book as living and collaborative—not as commodified and essentialized, but in all its dynamic materiality.
In this book, Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project—not as linear, bound, and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema’s proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality.
Adema suggests ways to unbind the book, describing experiments in scholarly book publishing with new forms of anonymous collaborative authorship, radical open access publishing, and processual, living, and remixed publications, among other practices. She doesn’t cast digital as the solution and print as the problem; the problem in scholarly publishing, she argues, is not print itself, but the way print has been commodified and essentialized. Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. Finally, asking why it is that we cut and bind our research together at all, she examines two book publishing projects that experiment with remix and reuse and try to rethink and reperform the book-apparatus by taking responsibility for the cuts they make.”
Publisher MIT Press, August 2021
Creative Commons BY-NC 4.0 International License
ISBN 9780262046022, 0262046024
Interview with author: Erzsébet Tóth-Czifra (Dariah Open, 2021).Comment (0)
Susan Jahoda, Caroline Woolard: Making and Being: Embodiment, Collaboration, and Circulation in the Visual Arts, a Workbook (2019)
Filed under book, handbook | Tags: · art, art education, collaboration, collaborative art, copyright, design, education, labour, narrative, pedagogy, political economy
“Making and Being offers a framework for teaching art that emphasizes contemplation, collaboration, and political economy. Authors Susan Jahoda and Caroline Woolard, two visual arts educators and members of the collective BFAMFAPhD, share ideas and teaching strategies that they have adapted to spaces of learning which range widely, from self-organized workshops for professional artists to Foundations BFA and MFA thesis classes. This hands-on guide includes activities, worksheets, and assignments and is a critical resource for artists and art educators today. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content.”
Publisher Pioneer Works Press, Brooklyn, NY, October 2019
Creative Commons BY-SA License
ISBN 9781945711077, 1945711078
Filed under book | Tags: · abstraction, algorithm, appropriation, avant-garde, collage, conceptual writing, concrete poetry, copyright, digital library, digitisation, language, modernism, noise, piracy, shadow library, sound poetry, ubuweb, video art, visual poetry
“In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard.
In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other “shadow libraries” and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb’s commitment to the free-culture movement and giving access to a wide range of artistic works with today’s gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.”
Publisher Columbia University Press, New York, 2020
ISBN 9780231186940, 0231186940
Reviews: Raphael Rubinstein (Art in America, 2020), Mark Athitakis (On the Seawall, 2020), Nick Soulsby (PopMatters, 2020), Tomáš Hudák (3/4, 2020, SK), Georg Fischer (iRights.info, 2020, DE), Daniel Morris (Williams Review, 2021).Comment (0)