Dockray, Pasquinelli, Smith & Waldorf
There is Nothing Less Passive than the Act of Fleeing
2010
# There is Nothing Less Passive than the Act of Fleeing
[The Public School](/web/20170523052416/http://journalment.org/author/public-
school)
What follows is a condensed and edited version of a text for a panel that was
presented at UCIRA’s _Future Tense: Alternative Arts and Economies in the
University_ conference held in San Diego, California on November 18, 2010.
The panel shared the same name as a 13-day itinerant seminar in Berlin
organized by Dockray, Waldorf, and Fiona Whitton earlier that year, in July.
The seminar began with an excerpt from Tiqqun’s _Introduction to Civil War_ ,
which was co-translated into English by Smith; and later read a chapter from
Pasquinelli’s _Animal Spirits: A Bestiary of the Commons_. Both authors have
also participated in meetings at The Public School in Los Angeles and Berlin.
Both the panel and the seminar developed out of longer conversations at The
Public School in Los Angeles, which began in late 2007 under Telic Arts
Exchange. The Public School is a school with no curriculum, where classes are
proposed and organized by the public.
## The Education Factory
The University as I understand it, has been a threshold between youth and the
labor market. Or it has been a threshold between a general education and a
more specialized one. In its more progressive form, it’s been a zone of
transition into an expanding middle class. But does this form still exist? I’m
inclined to think just the opposite, that the University is becoming a mean
for filtering people out of the middle class via student loan debt, which now
exceeds credit card debt. The point of the questions for me is simply what is
the point of the University? What are we fighting for or defending?
The next question might be, do students work? The University is a crucial site
in the reproduction of class relations; we know that students are consumers;
we know the student is a future worker who will be compelled to work, and work
in a specific way, because she/he is crushed by debt contracted during her/his
tenure as a student; we know that students work while attending school, and
that for many students school and work eerily begin to resemble one another.
But asking whether students work is to ask something more specific: do
students produce value and, therefore surplus-value? If we can assume, for the
moment, that students are a factor in the “knowledge production” that takes
place in the University, is this production of knowledge also the production
of value? We confront, maybe, a paradox: all social activity has become
“productive”—captured, absorbed—at the very moment value becomes unmeasurable.
What does this have to do with students, and their work? The thesis of the
social factory was supplemented by the assumption that knowledge had become a
central mode in the production of value in post-Fordist environments. Wouldn’t
this mean that the university could become an increasingly important
flashpoint in social struggles, now that it has become not simply the site of
the reproduction of the capital relation, but involved in the immediate
production process, directly productive of value? Would we have to understand
students themselves as, if not knowledge producers, an irreplaceable moment or
function within that process? None of this remains clear. The question is not
only a sociological one, it is also a political one. The strategy of
reconceptualizing students as workers is rooted in the classical Marxist
identification of revolt with the point of production, that is, exploitation.
To declare all social activity to be productive is another way of saying that
social war can be triggered at any site within society, even among the
precarious, the unemployed, and students.
_Knowledge is tied to struggle. To truly know is to hate truly. This is why
the working class can know and possess everything of capital, as it is enemy
to itself as capital._
—Tronti, 1966
That form of “hate” mentioned by Tronti is suggesting something interesting
form of political passion and a new modus operandi. The relation between hate
and knowledge, suggested by Tronti, is the opposite of the cynical detachment
of the new social figure of the entrepreneur-artist but it’s a joyful hate of
our condition. In order to educate ourselves we should hate our very own
environment and social network in which we were educated—the university. The
position of the artist in their work and the performance of themselves (often
no different) can take are manyfold. There are histories for all of these
postures that can be referenced and adopted. They are all acceptable tactics
as long as we keep doing and churning out more. But where does this get us,
both within the confines of the arts and the larger social structure? We are
taught that the artist is always working, thinking, observing. We have learned
the tricks of communication, performance and adaptability. We can go anywhere,
react to anything, respond in a thoughtful and creative way to all problems.
And we do this because while there is opportunity, we should take it. “We
shouldn’t complain, others have it much worse.” But it doesn’t mean that we
shouldn’t imagine something else. To begin thinking this way, it means a
refusal to deliver an event, to perform on demand. Maybe we need a kind of
inflexibility, of obstruction, of non-conductivity. After all, what exactly
are we producing and performing for? Can we try to think about these talents
of performance, of communication? If so, could this be the basis for an
intimacy, a friendship… another institution?
## Alternative pedagogical models
Let’s consider briefly the desire for “new pedagogical models” and “new forms
of knowledge production”. When articulated by the University, this simply
means new forms of instruction and new forms of research. Liberal faculty and
neoliberal politicians or administrators find themselves joined in this hunt
for future models and forms. On the one hand, faculty imagines that these new
techniques can provide space for continuing the good. On the other hand,
investors, politicians, and administrators look for any means to make the
University profitable; use unpaid labour, eliminate non-productive physical
spaces, and create new markets. Symptomatically, there is very little
resistance to this search for new forms and new models for the simple reason
that there is a consensus that the University should and will continue.
It’s also important to note that many of the so-called new forms and new
models being considered lie beyond the walls and payroll of the institution,
therefore both low-cost and low-risk. It is now a familiar story: the
institution attempts to renew itself by importing its own critique. The Public
School is not a new model and it’s not going to save the University. It is not
even a critique of the University any more or less than it is a critique of
the field of art or of capitalist society. It is not “the next university”
because it is a practice of leaving the University to the side. It would be a
mistake to think that this means isolation or total detachment.
Today, the forms of university governance cannot allow themselves to uproot
self-education. To the contrary, self-education constitutes a vital sap for
the survival of the institutional ruins, snatched up and rendered valuable in
the form of revenue. Governance is the trap, hasty and flexible, of the
common. Instead of countering us frontally, the enemy follows us. We must
immediately reject any weak interpretation of the theme of autonomous
institutions, according to which the institution is a self-governed structure
that lives between the folds of capitalism, without excessively bothering it.
The institutionalisation of self-education doesn’t mean being recognized as
one actor among many within the education market, but the capacity to organize
living knowledge’s autonomy and resistance.
One of the most important “new pedagogical models” that emerged over the past
year in the struggles around the implosion of the “public” university are the
occupations that took place in the Fall of 2009. Unlike other forms of action,
which tend to follow the timetable and cadence of the administration, to the
point of mirroring it, these actions had their own temporality, their own
initiative, their own internal logic. They were not at all concerned with
saving a university that was already in ruins, but rather with creating a
space at the heart of the University within which something else, some future,
could be risked, elaborated, prefigured. Everything had to be improvised, from
moment to moment, and in these improvisations new knowledges were developed
and shared. This improvisation was demanded by the aleatory quality of the
types of relations that emerged within these spaces, relations no longer
regulated by the social alibis that assigns everyone her/his place. When
students occupy university buildings—here in California, in NYC, in Puerto
Rico, in Europe and the UK, everywhere—they do so not because they want to
save their universities. They do so because they know the university for what
it is, as something to be at once seized and abandoned. They know that they
can only rely on and learn from one another.
## The Common and The Public
What is really so disconcerting about this antinomy between the logic of the
common and the logic of the social or the public? For Jacotot, it means the
development of a communist politics that is neither reformist nor seditious2.
It proposes the formation of common spaces at a distance from—if not outside
of—the public sphere and its communicative reason: “whoever forsakes the
workings of the social machine has the opportunity to make the electrical
energy of the emancipation machine.”
What does it mean to forsake the social machine? That is the major political
question facing us today. Such a forsaking would require that our political
energies organize themselves around spaces of experimentation at a distance
not only from the university and what is likely its slow-motion, or sudden,
collapse, but also from an entire imaginary inherited from the workers
movement: the task of a future social emancipation and vectors and forms of
struggle such a task implies. Perhaps what is required is not to put off
equality for the future, but presuppose the common, to affirm that commons as
a fact, a given, which must nevertheless be verified, created, not by a social
body, not by a collective force, but a power of the common, now.
School is not University. Neither is it Academy or College or even Institute.
We are all familiar with the common meaning of the word: it is a place for
learning. In another sense, it also refers to organized education in general,
which is made most clear by the decision to leave, to “drop out of school”.
Alongside these two stable, almost architectural definitions, the word
gestures to composition and movement—the school of bodies, moving
independently, together; the school only exists as long as that collective
movement does. The school takes shape in this oscillation between form and
formlessness, not through the act of constructing a wall but by the process of
realizing its boundary through practice.
Perhaps this is a way to think of how to develop what Felix Guattari called
“the associative sector” in 1982: “everything that isn’t the state, or private
capital, or even cooperatives”3. At first gloss, the associative sector is
only a name for the remainder, the already outside; but, in the language of a
school, it is a constellation of relationships, affinities, new
subjectivities, and movements, flickering into existence through life and use,
An “engaged withdrawal” that simultaneously creates an exit and institutes in
the act of passing through. Which itself might bring us back to school, to the
Greek etymology of school, skhole, “a holding back”, a “keeping clear” of
space for reflective distance. On the one hand, perhaps this reflective space
simply allows theoretical knowledge to shape or affect performative action;
but on the other hand, the production of this “clearing” is not given,
certainly not now and certainly not by the institutions that claim to give it.
Reflective space is not the precondition for performative action. On the
contrary; performative action is the precondition for reflective space—or,
more appropriately, space and action must be coproduced.
Is the University even worth “saving”? We are right to respond with
indignation, or better, with an array of tactics—some procedural, some more
“direct”—against these incursions, which always seem to authorize themselves
by appeals to economic austerity, budget shortfalls, and tightened belts.
Perhaps what is being destroyed in this process is the very notion of the
public sphere itself, a notion that. It is easy to succumb to the illusion
that the only possible result of this destruction of the figure of the public
is privatization. But what if the figure of the public was to be set off
against not only the private and property relations, but against a figure of
the “common” as well? What if, in other words, the notion of the public has
always been an unstable, mediating term between privatization and
communization, and what if the withering of this mediation left these two
process openly at odds with each other? Perhaps, then, it is not simply a
question of saving a university and, more broadly, a public space that is
already withering away; maybe our energies and our intelligence, our
collective or common intellectual forces, should be devoted to organizing and
articulating just this sort of counter-transition, at a distance from the
public and the private.
## Authorship and new forms of knowledge
For decades we have spoken about the “death of the author”. The most sustained
critiques of authorship have been made from the spheres of art and education,
but not coincidentally, these spheres have the most invested in the notion.
Credit and accreditation are the mechanisms for attaching symbolic capital to
individuals via degrees and other lines on CVs. The curriculum vitæ is an
inverted credit report, evidence of underpaid work, kept orderly with an
expectation of some future return.
All of this work, this self-documentation, this fidelity between ourselves and
our papers, is for what, for whom? And what is the consequence of a world
where every person is armed with their vitæ, other than “the war of all
against all?” It’s that sensation that there are no teams but everyone has got
their own jersey.
The idea behind the project The Public School is to teach each other in a very
horizontal way. No curriculum, no hierarchy. But is The Public School able to
produce new knowledge and new content by itself? Can the The Public School
become a sort of autonomous collective author? Or, is The Public School just
about exchanges and social networking?
In the recent history of university struggles, some collectives started to
refresh the idea of coresearch; a form of knowledge that can produce new
subjectivities by researching. New subjectivities that produce new knowledge
and new knowledge that produces new subjectivities If knowledge comes only
from conflict, knowledge goes back to conflict in order to produce new
autonomy and subjectivities.
### The Public School
Sean Dockray, Matteo Pasquinelli, Jason Smith and Caleb Waldorf are founding
members of and collaborators at The Public School. Initiated in 2007 under
Telic Arts Exchange (literally in the basement) in Los Angeles, The Public
School is a school with no curriculum. At the moment, it operates as follows:
first, classes are proposed by the public; then, people have the opportunity
to sign up for the classes; finally, when enough people have expressed
interest, the school finds a teacher and offers the class to those who signed
up. The Public School is not accredited, it does not give out degrees, and it
has no affiliation with the public school system. It is a framework that
supports autodidactic activities, operating under the assumption that
everything is in everything. The Public School currently exists in Los
Angeles, New York, Berlin, Brussels, Helsinki, Philadelphia, Durham, San Juan,
and is still expanding.
Barok
Techniques of Publishing
2014
Techniques of Publishing
Draft translation of a talk given at the seminar Informace mezi komoditou a komunitou [The Information Between Commodity and Community] held at Tranzitdisplay in Prague, Czech Republic, on May 6, 2014
My contribution has three parts. I will begin by sketching the current environment of publishing in general, move on to some of the specificities of publishing
in the humanities and art, and end with a brief introduction to the Monoskop
initiative I was asked to include in my talk.
I would like to thank Milos Vojtechovsky, Matej Strnad and CAS/FAMU for
the invitation, and Tranzitdisplay for hosting this seminar. It offers itself as an
opportunity for reflection for which there is a decent distance from a previous
presentation of Monoskop in Prague eight years ago when I took part in a new
media education workshop prepared by Miloš and Denisa Kera. Many things
changed since then, not only in new media, but in the humanities in general,
and I will try to articulate some of these changes from today’s perspective and
primarily from the perspective of publishing.
I. The Environment of Publishing
One change, perhaps the most serious, and which indeed relates to the humanities
publishing as well, is that from a subject that was just a year ago treated as a paranoia of a bunch of so called technological enthusiasts, is today a fact with which
the global public is well acquainted: we are all being surveilled. Virtually every
utterance on the internet, or rather made by means of the equipment connected
to it through standard protocols, is recorded, in encrypted or unencrypted form,
on servers of information agencies, besides copies of a striking share of these data
on servers of private companies. We are only at the beginning of civil mobilization towards reversal of the situation and the future is open, yet nothing suggests
so far that there is any real alternative other than “to demand the impossible.”
There are at least two certaintes today: surveillance is a feature of every communication technology controlled by third parties, from post, telegraphy, telephony
to internet; and at the same time it is also a feature of the ruling power in all its
variants humankind has come to know. In this regard, democracy can be also understood as the involvement of its participants in deciding on the scale and use of
information collected in this way.
I mention this because it suggests that also all publishing initiatives, from libraries,
through archives, publishing houses to schools have their online activities, back1
ends, shared documents and email communication recorded by public institutions–
which intelligence agencies are, or at least ought to be.
In regard to publishing houses it is notable that books and other publications today are printed from digital files, and are delivered to print over email, thus it is
not surprising to claim that a significant amount of electronically prepared publications is stored on servers in the public service. This means that besides being
required to send a number of printed copies to their national libraries, in fact,
publishers send their electronic versions to information agencies as well. Obviously, agencies couldn’t care less about them, but it doesn’t change anything on
the likely fact that, whatever it means, the world’s largest electronic repository of
publications today are the server farms of the NSA.
Information agencies archive publications without approval, perhaps without awareness, and indeed despite disapproval of their authors and publishers, as an
“incidental” effect of their surveillance techniques. This situation is obviously
radically different from a totalitarianism we got to know. Even though secret
agencies in the Eastern Bloc were blackmailing people to produce miserable literature as their agents, samizdat publications could at least theoretically escape their
attention.
This is not the only difference. While captured samizdats were read by agents of
flesh and blood, publications collected through the internet surveillance are “read”
by software agents. Both of them scan texts for “signals”, ie. terms and phrases
whose occurrences trigger interpretative mechanisms that control operative components of their organizations.
Today, publishing is similarly political and from the point of view of power a potentially subversive activity like it was in the communist Czechoslovakia. The
difference is its scale, reach and technique.
One of the messages of the recent “revelations” is that while it is recommended
to encrypt private communication, the internet is for its users also a medium of
direct contact with power. SEO, or search engine optimization, is now as relevant technique for websites as for books and other publications since all of them
are read by similar algorithms, and authors can read this situation as a political
dimension of their work, as a challenge to transform and model these algorithms
by texts.
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II. Techniques of research in the humanities literature
Compiling the bibliography
Through the circuitry we got to the audience, readers. Today, they also include
software and algorithms such as those used for “reading” by information agencies
and corporations, and others facilitating reading for the so called ordinary reader,
the reader searching information online, but also the “expert” reader, searching
primarily in library systems.
Libraries, as we said, are different from information agencies in that they are
funded by the public not to hide publications from it but to provide access to
them. A telling paradox of the age is that on the one hand information agencies
are storing almost all contemporary book production in its electronic version,
while generally they absolutely don’t care about them since the “signal” information lies elsewhere, and on the other in order to provide electronic access, paid or
direct, libraries have to costly scan also publications that were prepared for print
electronically.
A more remarkable difference is, of course, that libraries select and catalogize
publications.
Their methods of selection are determined in the first place by their public institutional function of the protector and projector of patriotic values, and it is reflected
in their preference of domestic literature, ie. literature written in official state languages. Methods of catalogization, on the other hand, are characterized by sorting
by bibliographic records, particularly by categories of disciplines ordered in the
tree structure of knowledge. This results in libraries shaping the research, including academic research, towards a discursivity that is national and disciplinary, or
focused on the oeuvre of particular author.
Digitizing catalogue records and allowing readers to search library indexes by their
structural items, ie. the author, publisher, place and year of publication, words in
title, and disciplines, does not at all revert this tendency, but rather extends it to
the web as well.
I do not intend to underestimate the value and benefits of library work, nor the
importance of discipline-centered writing or of the recognition of the oeuvre of
the author. But consider an author working on an article who in the early phase
of his research needs to prepare a bibliography on the activity of Fluxus in central Europe or on the use of documentary film in education. Such research cuts
through national boundaries and/or branches of disciplines and he is left to travel
not only to locate artefacts, protagonists and experts in the field but also to find
literature, which in turn makes even the mere process of compiling bibliography
relatively demanding and costly activity.
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In this sense, the digitization of publications and archival material, providing their
free online access and enabling fulltext search, in other words “open access”, catalyzes research across political-geographical and disciplinary configurations. Because while the index of the printed book contains only selected terms and for
the purposes of searching the index across several books the researcher has to have
them all at hand, the software-enabled search in digitized texts (with a good OCR)
works with the index of every single term in all of them.
This kind of research also obviously benefits from online translation tools, multilingual case bibliographies online, as well as second hand bookstores and small
specialized libraries that provide a corrective role to public ones, and whose “open
access” potential has been explored to the very small extent until now, but which
I won’t discuss here further for the lack of time.
Writing
The disciplinarity and patriotism are “embedded” in texts themselves, while I repeat that I don’t say this in a pejorative way.
Bibliographic records in bodies of texts, notes, attributions of sources and appended references can be read as formatted addresses of other texts, making apparent a kind of intertextual structure, well known in hypertext documents. However, for the reader these references are still “virtual”. When following a reference
she is led back to a library, and if interested in more references, to more libraries.
Instead, authors assume certain general erudition of their readers, while following references to their very sources is perceived as an exception from the standard
self-limitation to reading only the body of the text. Techniques of writing with
virtual bibliography thus affirm national-disciplinary discourses and form readers
and authors proficient in the field of references set by collections of local libraries
and so called standard literature of fields they became familiar with during their
studies.
When in this regime of writing someone in the Czech Republic wants to refer to
the work of Gilbert Simondon or Alexander Bogdanov, to give an example, the
effect of his work will be minimal, since there was practically nothing from these
authors translated into Czech. His closely reading colleague is left to try ordering
books through a library and wait for 3-4 weeks, or to order them from an online
store, travel to find them or search for them online. This applies, in the case of
these authors, for readers in the vast majority of countries worldwide. And we can
tell with certainty that this is not only the case of Simondon and Bogdanov but
of the vast majority of authors. Libraries as nationally and pyramidally situated
institutions face real challenges in regard to the needs of free research.
This is surely merely one aspect of techniques of writing.
4
Reading
Reading texts with “live” references and bibliographies using electronic devices is
today possible not only to imagine but to realise as well. This way of reading
allows following references to other texts, visual material, other related texts of
an author, but also working with occurrences of words in the text, etc., bringing
reading closer to textual analysis and other interesting levels. Due to the time
limits I am going to sketch only one example.
Linear reading is specific by reading from the beginning of the text to its end,
as well as ‘tree-like’ reading through the content structure of the document, and
through occurrences of indexed words. Still, techniques of close reading extend
its other aspect – ‘moving’ through bibliographic references in the document to
particular pages or passages in another. They make the virtual reference plastic –
texts are separated one from another merely by a click or a tap.
We are well familiar with a similar movement through the content on the web
– surfing, browsing, and clicking through. This leads us to an interesting parallel: standards of structuring, composing, etc., of texts in the humanities has been
evolving for centuries, what is incomparably more to decades of the web. From
this stems also one of the historical challenges the humanities are facing today:
how to attune to the existence of the web and most importantly to epistemological consequences of its irreversible social penetration. To upload a PDF online is
only a taste of changes in how we gain and make knowledge and how we know.
This applies both ways – what is at stake is not only making production of the
humanities “available” online, it is not only about open access, but also about the
ways of how the humanities realise the electronic and technical reality of their
own production, in regard to the research, writing, reading, and publishing.
Publishing
The analogy between information agencies and national libraries also points to
the fact that large portion of publications, particularly those created in software,
is electronic. However the exceptions are significant. They include works made,
typeset, illustrated and copied manually, such as manuscripts written on paper
or other media, by hand or using a typewriter or other mechanic means, and
other pre-digital techniques such as lithography, offset, etc., or various forms of
writing such as clay tablets, rolls, codices, in other words the history of print and
publishing in its striking variety, all of which provide authors and publishers with
heterogenous means of expression. Although this “segment” is today generally
perceived as artists’ books interesting primarily for collectors, the current process
of massive digitization has triggered the revival, comebacks, transformations and
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novel approaches to publishing. And it is these publications whose nature is closer
to the label ‘book’ rather than the automated electro-chemical version of the offset
lithography of digital files on acid-free paper.
Despite that it is remarkable to observe a view spreading among publishers that
books created in software are books with attributes we have known for ages. On
top of that there is a tendency to handle files such as PDFs, EPUBs, MOBIs and
others as if they are printed books, even subject to the rules of limited edition, a
consequence of what can be found in the rise of so called electronic libraries that
“borrow” PDF files and while someone reads one, other users are left to wait in
the line.
Whilst, from today’s point of view of the humanities research, mass-printed books
are in the first place archives of the cultural content preserved in this way for the
time we run out of electricity or have the internet ‘switched off’ in some other
way.
III. Monoskop
Finally, I am getting to Monoskop and to begin with I am going to try to formulate
its brief definition, in three versions.
From the point of view of the humanities, Monoskop is a research, or questioning, whose object’s nature renders no answer as definite, since the object includes
art and culture in their widest sense, from folk music, through visual poetry to
experimental film, and namely their history as well as theory and techniques. The
research is framed by the means of recording itself, what makes it a practise whose
record is an expression with aesthetic qualities, what in turn means that the process of the research is subject to creative decisions whose outcomes are perceived
esthetically as well.
In the language of cultural management Monoskop is an independent research
project whose aim is subject to change according to its continual findings; which
has no legal body and thus as organisation it does not apply for funding; its participants have no set roles; and notably, it operates with no deadlines. It has a reach
to the global public about which, respecting the privacy of internet users, there
are no statistics other than general statistics on its social networks channels and a
figure of numbers of people and bots who registered on its website and subscribed
to its newsletter.
At the same time, technically said, Monoskop is primarily an internet website
and in this regard it is no different from any other communication media whose
function is to complicate interpersonal communication, at least due to the fact
that it is a medium with its own specific language, materiality, duration and access.
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Contemporary media
Monoskop has began ten years ago in the milieu of a group of people running
a cultural space where they had organised events, workshops, discussion, a festival,
etc. Their expertise, if to call that way the trace left after years spent in the higher
education, varied well, and it spanned from fine art, architecture, philosophy,
through art history and literary theory, to library studies, cognitive science and
information technology. Each of us was obviously interested in these and other
fields other than his and her own, but the praxis in naming the substance whose
centripetal effects brought us into collaboration were the terms new media, media
culture and media art.
Notably, it was not contemporary art, because a constituent part of the praxis was
also non-visual expression, information media, etc., so the research began with the
essentially naive question ‘of what are we contemporary?’. There had been not
much written about media culture and art as such, a fact I perceived as drawback
but also as challenge.
The reflection, discussion and critique need to be grounded in reality, in a wider
context of the field, thus the research has began in-field. From the beginning, the
website of Monoskop served to record the environment, including people, groups,
organizations, events we had been in touch with and who/which were more or
less explicitly affiliated with media culture. The result of this is primarily a social
geography of live media culture and art, structured on the wiki into cities, with
a focus on the two recent decades.
Cities and agents
The first aim was to compile an overview of agents of this geography in their
wide variety, from eg. small independent and short-lived initiatives to established
museums. The focus on the 1990s and 2000s is of course problematic. One of
its qualities is a parallel to the history of the World Wide Web which goes back
precisely to the early 1990s and which is on the one hand the primary recording
medium of the Monoskop research and on the other a relevant self-archiving and–
stemming from its properties–presentation medium, in other words a platform on
which agents are not only meeting together but potentially influence one another
as well.
http://monoskop.org/Prague
The records are of diverse length and quality, while the priorities for what they
consist of can be generally summed up in several points in the following order:
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1. Inclusion of a person, organisation or event in the context of the structure.
So in case of a festival or conference held in Prague the most important is to
mention it in the events section on the page on Prague.
2. Links to their web presence from inside their wiki pages, while it usually
implies their (self-)presentation.
http://monoskop.org/The_Media_Are_With_Us
3. Basic information, including a name or title in an original language, dates
of birth, foundation, realization, relations to other agents, ideally through
links inside the wiki. These are presented in narrative and in English.
4. Literature or bibliography in as many languages as possible, with links to
versions of texts online if there are any.
5. Biographical and other information relevant for the object of the research,
while the preference is for those appearing online for the first time.
6. Audiovisual material, works, especially those that cannot be found on linked
websites.
Even though pages are structured in the quasi same way, input fields are not structured, so when you create a wiki account and decide to edit or add an entry, the
wiki editor offers you merely one input box for the continuous text. As is the case
on other wiki websites. Better way to describe their format is thus articles.
There are many related questions about representation, research methodology,
openness and participation, formalization, etc., but I am not going to discuss them
due to the time constraint.
The first research layer thus consists of live and active agents, relations among
them and with them.
Countries
Another layer is related to a question about what does the field of media culture
and art stem from; what and upon what does it consciously, but also not fully
consciously, builds, comments, relates, negates; in other words of what it may be
perceived a post, meta, anti, retro, quasi and neo legacy.
An approach of national histories of art of the 20th century proved itself to be
relevant here. These entries are structured in the same way like cities: people,
groups, events, literature, at the same time building upon historical art forms and
periods as they are reflected in a range of literature.
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http://monoskop.org/Czech_Republic
The overviews are organised purposely without any attempts for making relations
to the present more explicit, in order to leave open a wide range of intepretations
and connotations and to encourage them at the same time.
The focus on art of the 20th century originally related to, while the researched
countries were mostly of central and eastern Europe, with foundations of modern
national states, formations preserving this field in archives, museums, collections
but also publications, etc. Obviously I am not saying that contemporary media
culture is necessarily archived on the web while art of the 20th century lies in
collections “offline”, it applies vice versa as well.
In this way there began to appear new articles about filmmakers, fine artists, theorists and other partakers in artistic life of the previous century.
Since then the focus has considerably expanded to more than a century of art and
new media on the whole continent. Still it portrays merely another layer of the
research, the one which is yet a collection of fragmentary data, without much
context. Soon we also hit the limit of what is about this field online. The next
question was how to work in the internet environment with printed sources.
Log
http://monoskop.org/log
When I was installing this blog five years ago I treated it as a side project, an offshoot, which by the fact of being online may not be only an archive of selected
source literature for the Monoskop research but also a resource for others, mainly
students in the humanities. A few months later I found Aaaarg, then oriented
mainly on critical theory and philosophy; there was also Gigapedia with publications without thematic orientation; and several other community library portals
on password. These were the first sources where I was finding relevant literature
in electronic version, later on there were others too, I began to scan books and catalogues myself and to receive a large number of scans by email and soon came to
realise that every new entry is an event of its own not only for myself. According
to the response, the website has a wide usership across all the continents.
At this point it is proper to mention the copyright. When deciding about whether
to include this or that publication, there are at least two moments always present.
One brings me back to my local library at the outskirts of Bratislava in the early
1990s and asks that if I would have found this book there and then, could it change
my life? Because books that did I was given only later and elsewhere; and here I
think of people sitting behind computers in Belarus, China or Kongo. And even
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if not, the latter is a wonder on whether this text has a potential to open up some
serious questions about disciplinarity or national discursivity in the humanities,
while here I am reminded by a recent study which claims that more than half
of academic publications are not read by more than three people: their author,
reviewer and editor. What does not imply that it is necessary to promote them
to more people but rather to think of reasons why is it so. It seems that the
consequences of the combination of high selectivity with open access resonate
also with publishers and authors from whom the complaints are rather scarce and
even if sometimes I don’t understand reasons of those received, I respect them.
Media technology
Throughout the years I came to learn, from the ontological perspective, two main
findings about media and technology.
For a long time I had a tendency to treat technologies as objects, things, while now
it seems much more productive to see them as processes, techniques. As indeed
nor the biologist does speak about the dear as biology. In this sense technology is
the science of techniques, including cultural techniques which span from reading,
writing and counting to painting, programming and publishing.
Media in the humanities are a compound of two long unrelated histories. One of
them treats media as a means of communication, signals sent from point A to the
point B, lacking the context and meaning. Another speaks about media as artistic
means of expression, such as the painting, sculpture, poetry, theatre, music or
film. The term “media art” is emblematic for this amalgam while the historical
awareness of these two threads sheds new light on it.
Media technology in art and the humanities continues to be the primary object of
research of Monoskop.
I attempted to comment on political, esthetic and technical aspects of publishing.
Let me finish by saying that Monoskop is an initiative open to people and future
and you are more than welcome to take part in it.
Dušan Barok
Written May 1-7, 2014, in Bergen and Prague. Translated by the author on May 10-13,
2014. This version generated June 10, 2014.