conceptual in Adema 2019
edia theorists such as N.
Katherine Hayles and Johanna Drucker have extensively argued that the
materiality of the page is entangled with the intentionality of the author as
a further agency; Drucker conceptualises this through a focus on ‘conditional
texts’ and ‘performative materiality’ with respect to the agency of the
material medium (be it the printed page or the digital
screen).[46](ch3.xhtml#f
attributed to creativity, including
those of users.[56](ch3.xhtml#footnote-097)
An interesting example of how the hegemonic object-based discourse of
creativity can be re-appropriated comes from the conceptual poet Kenneth
Goldsmith, who, in what could be seen as a direct response to this dominant
narrative, tries to emphasise that exactly what this discourse classifies as
‘uncreative’, should be seen a
re written by machines, for machines). Yet Goldsmith is
keen to emphasise that these forms of uncreative writing are not beholden to
the digital medium, and that pre-digital examples are plentiful in conceptual
literature and poetry. He points out — again by a discursive re-appropriation
of what creativity is or can be — that sampling, remixing and appropriation
have been the norm in other artistic a
oritative Text’, in Patrik Svensson and David Theo Goldberg
(eds.), Between Humanities and the Digital (Cambridge, MA: MIT Press), pp.
83–94.
— (2014) ‘Distributed and Conditional Documents: Conceptualizing
Bibliographical Alterities’, MATLIT: Revista do Programa de Doutoramento em
Materialidades da Literatura 2.1, 11–29.
— (2013) ‘Performative Materiality and Theoretical Approaches to Inte
ical Approaches to Interface’, Digital
Humanities Quarterly 7.1 (2013),
Drucker, ‘Distributed and Conditional Documents: Conceptualizing
Bibliographical Alterities’, MATLIT: Revista do Programa de Doutoramento em
Materialidades da Literatura 2.1 (2014), 11–29.
[47](ch3.xhtml#footnote-106-backlink) Nick Montfort, ‘The Coding
conceptual in Adema & Hall 2013
h to cite from it.
CURVE is the Institutional Repository for Coventry University
http://curve.coventry.ac.uk/open
Abstract
In this article we argue that the medium of the book can be a material and
conceptual means, both of criticising capitalism’s commodification of knowledge (for
example, in the form of the commercial incorporation of open access by feral and
predatory publishers), and of opening up a
only
as a material object but also as a concept-laden metaphor. Since it is a medium
through which an alternative future for art, academia and even society can be enacted
and imagined, materially and conceptually, we can even go so far as to say that, in its
ontological instability with regard to what it is and what it conveys, the book serves a
political function. In short, the book can be ‘rethought to s
ory of the latter can
help us to explore in more depth and detail than would otherwise be possible the
relation in open access between experimenting with the medium of the book on a
4
material and conceptual level on the one hand, and enacting political alternatives in a
broader sense on the other. Within the specific context of 1960s and 1970s
counterculture, the artist’s book was arguably able to fill
(the book), and in the
process using this medium in order to reimagine what art is and how it can be
accessed and viewed. While artists grasped and worked through that relation between
the political, conceptual and material aspects of the book several decades ago, thanks
to the emergence of open access online journals, archives, blogs, wikis and free textsharing networks one of the main places in which this
at were performed by artists. Listed below are six key
areas in which artists’ books can be said to offer guidance for academic publishing in
the digital age, not just on a pragmatic level but on a conceptual and political level
too.
1) The Circumvention of Established Institutions
2
The relation in academic publishing between the political, conceptual and material aspects
of the book has of course been investigated at certain points in the past, albeit to varying
degrees and extents. For one example, see the ‘Working Papers’ and other forms of
ell with the mythology Johanna
Drucker describes as surrounding ‘activist artists’, and especially with the idea of the
book as a tool of independent activist thought. 8
2) The Relationship with Conceptual and Processual Art
In the context of this history of the artist’s book, one particularly significant
conceptual challenge to the gallery system came with the use of the book as a
platform for exhibiting original work (itself an extension of André Malraux’s idea of
the museum without walls). Curator Seth Sieg
way reflection on the material nature of the book in the digital age has led to
questions being raised regarding how we structure scholarly communication and
practice scholarship more generally.
5) Conceptual Experimentation: Problematising the Concept and Form of the Book
Another key to understanding artists’ books and their history lies with the way the
radical change in printing technologies after Wor
on’ of art practice
(Solomon-Godeau focuses specifically on postmodern photography) and critique into
the discourses it professed to challenge – can be positioned as part of a general
tendency in conceptual and postmodern ‘critical art practices’. It is a development that
can be connected to the changing art markets of the time and viewed in terms of a
broader social and cultural shift to Reaganomics
g degrees of what Peter Suber calls ‘author-side openness’ when it
comes to reviewing, editing, changing, updating and re-using content, including
creating derivative works. Such practices pose a conceptual challenge to some of the
more limited interpretations of open access (what has at times been dubbed ‘weak
open access’), 47 and can on occasion even constitute a radical test of the integrity and
it
liberal-democratic, neoliberal or otherwise) project of using digital media and the
Internet to create wider access to book-based research on the one hand, and
experimenting—as part of the more conceptual, experimental aspects of open access
book publishing—with the form of the book (a combination of which we identified as
46
See http://mediacommons.futureofthebook.org/mcpress/plannedobsolescence;
h
istic product as well as a medium – were integrally linked
with questions concerning the nature of both art and the book as such. Book artists
and theorists thus became more and more engaged in the conceptual and practical
exploration of the materiality of the book. In the end, however, the promise of
technological innovation which underpinned the changes with respect to the
production and distribution of
erting the
31
established systems of publication and distribution, the artist’s book ended up being
largely integrated into them. 56 Throughout the course of this article we have argued
that its conceptual and material promise notwithstanding, there is a danger of
something similar happening to open access publishing today. Take the way open
access has increasingly come to be adopted by commercial publi
s the latter as a
model that can be implemented in different contexts (in China or the Middle East, for
instance). He sees discourses of this kind as running two risks in particular. First of
all, in conceptualizing democracy as a model there is a danger of it becoming a
homogenizing force, masking differences and inequalities. Second, when positioned
as a model or a project, democracy also runs the risk of
ritical
manner?
62
Etienne Balibar, ‘Historical Dilemmas of Democracy and Their Contemporary Relevance
for Citizenship’, Rethinking Marxism, 20 (2008).
34
Certainly, one of the advantages of conceptualizing open access as a process of
struggle rather than as a model to be implemented would be that doing so would
create more space for radically different, conflicting, even incommensurable positions
w
on-goal oriented way of thinking about academic publishing
shares much with the mode of working of the artist - which is why we have argued
that open access today can draw productively on the kind of conceptual openness and
political energy that characterised experimentation with the medium of the book in
the art world of the 1960s and 1970s.
65
Mouffe, On the Political, p30.
36
conceptual in Barok 2014
ractices of linking as on the web and
referencing as in scholarly work may benefit from one another. The question is
_how_ to bring them closer together.
An approach I am going to propose requires a conceptual leap to something we
have not been taught.
For centuries, the primary format of the text has been the page, a vessel, a
medium, a frame containing text embedded between straight, less or more
explici
conceptual in Barok 2014
I realized first that a philological and lexicographical inquiry into the
verbal system of an author has t o precede and prepare for a doctrinal
interpretation of his works. Each writer expresses his conceptual system in
and through his verbal system, with the consequence that the reader who
masters this verbal system, using his own conceptual system, has to get an
insight into the writer's conceptual system. The reader should not simply
attach t o the words he reads the significance they have in his mind, but
should try t o find out what significance they had in the writer's mind.
Second, I realiz
conceptual in Constant 2009
ld the term ‘imaginary media' in his
chapter in the Book of Imaginary Media:
• Untimely media/apparatus/machines: “Media devised and designed
either much too late or much too early. . . ”
• Conceptual media/apparatus/machines: “Artefacts that were only
ever sketched as models. . . but never actually built.”
• Impossible media/apparatus/machines: “Imaginary media in the
true sense, by which
ung, unseen, often almost
hidden way. It is this kind of deep collectivity, this profound sense of
micro-collaboration, which has often been tapped into this weekend.
Still, of course, the social and conceptual divisions persist, and
still, just as we have our celebrity chefs, so we have our celebrity
programmers and dominant corporate software developers. And just
as we have our forgotten and overlooked coo
.
NL
EN
Leif Elggren (born 1950, Linköping,
Sweden) is a Swedish artist who lives
and works in Stockholm.
Active since the late 1970s, Leif
Elggren has become one of the most
constantly surprising conceptual artists
to work in the combined worlds of
audio and visual. A writer, visual
artist, stage performer and composer,
he has many albums to his credits, solo and with the Sons of God,
on labels such as A
as born in 1956 in
Linkšping, Sweden.
He lives and
works in Stockholm. Since the end
of the 70s, von Hausswolff has been
working as a composer using the tape
recorder as his main instrument and
as a conceptual visual artist working with performance art, light- and
sound installations and photography.
His audio compositions from 1979 to
1992, constructed almost exclusively
from basic material taken from earl
conceptual in Constant 2015
ally grown elements, it becomes ... possibly modern?
Hypermodern?
Something for now and later.
Yes. Part of this idea, the trick ... This software is called ‘Subtext’ and at
this point it’s a conceptual project, but that will change pretty soon. Its
trick is this idea of separation instead of form and content, it’s translation
and effect. The parser itself has to be mutable, has to be able to pull
ion
there is always a separation between teaching technology and practice. You
have, in different ways, you have the studio practice, and then you have the
workshops. And it is very difficult to make conceptual connections between
the two. We end up trying to make that happen, but it is clearly not made
for that. And then there is the problem of hierarchies between tutor and
student, that are hard to break i
conceptual in Constant 2016
we can simply say: Let us calculate, without further ado, and
see who is right”.[25] His inquiry was divided in two phases. The first one, analytic, the
characteristica universalis, was a universal conceptual language to express meanings, of which
we only know that it worked with prime numbers. The second one, synthetic, the calculus
ratiocinator, was the algebra that would allow operations between meaning
nt backgrounds, they easily understood each other, since they “did
frequently use similar terms such as plan, analysis, classification, abstraction, standardization
and synthesis, not only to bring conceptual order into their disciplines and knowledge
organization, but also in human action.”[17] Moreover, the appearance of common terms in
their most significant publications is striking. Such as spirit, m
resources in the development process as possible. Because the Mundaneum
is “an idea, an institution, a method, a material corpus of works and collections, a building, a
network,”[18] it had to be conceptualized as an “organic plan with the possibility to expand on
different scales with the multiplication of each part.”[19] The possibility of expansion and an
organic redistribution of elements adapted
autant de ressources que possible. Puisque « Le Mundaneum est une
Idée, une Institution, une Méthode, un Corps matériel de travaux et collections, un Édifice,
un Réseau. »[18] il devait être conceptualisé comme un « plan organique avec possibilité
d'expansion à différentes échelles grâce à la multiplication de chaque partie. »[19] La
possibilité d'expansion et la redistribution organique d
t Parc du Cinquantenaire 11,
Brussels in front of the entrance of
what is now Autoworld.
In 1919, significantly delayed by World War I, the Musée international finally opened. The
project had been conceptualised by Paul Otlet and Henri Lafontaine already ten years
earlier and was meant to be a mix between a documentation center, conference venue and
educational display. It occupied the left wing of the ma
conceptual in Constant 2018
veals what is seen as worthy of observation (e.g., what
protocols, what space, which devices), the granularity of the
observation (e.g., how is the observation captured, in what detail), the
logo and conceptual framework of choice etc. This type of observation
may be turned into a service (See also: Something in the Middle Maybe
(SitMM)).]{.how .descriptor} [When: Ideally, SWOA can be used everywhere
and in
conceptual in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013
oth print and digital media. So, printing a
magazine about digital art and culture in that historical moment meant to
be surrounded by stimuli that pushed beyond the usual structural design
forms and conceptual paradigms of publishing. After almost two decades we
can recognise also that that time was the beginning of the most important
mutation of publishing, through its new networked, screen-based and real
nship’s
outcome is far from being mature.
We asked ourselves: what’s the difference between digitally scanning the text
of a book we already own, and obtaining it through Amazon Noir? In strictly
conceptual terms, there is no difference at all, other then the amount of time
we spent on the project. We wished to set up our own Amazon, definitively
circumventing the confusion of endless purchase-inducing s
nigh obsessional levels,
and magazines’ visual languages also grappled with their representation, or
integration.
Where we stand now, things are supposed to have stabilised somewhat.
The medial and conceptual hyper experimentation triggered by projected
‘digital futures’ has notionally died down, as mature social media and digital
publishing platforms are incorporated into our everyday lives, and the
b
conceptual in Dockray 2013
analogy with flexible labor, workers being made redundant, and so on.
In Object-Oriented Programming, a programmer designs the software that she is writing around
“objects,” where each object is conceptually divided into “public” and “private” parts. The public
parts are accessible to other objects, but the private ones are hidden to the world outside the
boundaries of that object. It's a “bla
mediate code. External programs, powerful
computers, banking institutions, people, and satellites have all been “encapsulated” and
“abstracted” into objects with inputs and outputs. Is this a conceptual reduction of the richness
and complexity of reality? Yes, but only partially. It is also a real description of how people,
institutions, software, and things are being brought into relationship with o
conceptual in Fuller & Dockray 2011
ose to
the role that cultural studies plays in the UK, but which (cultural studies)
has no real equivalent in France, so then, geographically and linguistically,
and therefore also in a certain sense conceptually, the life of a book
exhibits these weird delays and lags and accelerations, so that's a good
example. I'm interested in what role Aaaaarg plays in that kind of
proliferation, the kind of things that
agination in an interesting way.
**SD:** Yeah, yeah, I totally agree and, not to put too much emphasis on the
software, although I think that there's good reason to look at both the
software and the conceptual diagram of the school itself, but really in a way
it would grind to a halt if it weren't for the very traditional labour of
people - like an organising committee. In LA there's usually around eight of
conceptual in Giorgetta, Nicoletti & Adema 2015
roperty:
> In this view of materiality, it is not merely an inert collection of
physical properties but a dynamic quality that emerges from the interplay
between the text as a physical artifact, its conceptual content, and the
interpretive activities of readers and writers. Materiality thus cannot be
specified in advance; rather, it occupies a borderland— or better, performs as
connective tissue—joining
conceptual in Goldsmith 2011
te clip of Abbie Hoffman making gefilte
fish](http://www.ubu.com/film/hoffman.html) on Christmas Eve of 1973.
Other portions of the site include a vast repository of papers about audio,
performance, conceptual art, and poetry. There are large sections of artists
simply placed together under categories of Historical and Contemporary. And
then there is [/ubu Editions](http://www.ubu.com/ubu/), which offers fu
conceptual in Hamerman 2015
is
dissident function as a kind of experimental provocation, their content is
audience-specific rather than universal.
_[UbuWeb](http://www.ubuweb.com/resources/index.html)_ , founded in 1996 by
conceptual artist/ writer Kenneth Goldsmith, is the largest online archive of
avant-garde art resources. Its holdings include sound, video and text-based
works dating from the historical avant-garde era to today
conceptual in Liang 2012
hat surrounds it, and
absolutely unreal, since in order to be perceived it has to pass through this
virtual point which is over there.”6
In _The Order of Things_ Foucault sought to investigate the conceptual space
which makes the order of knowledge possible; in his famed reading of Borges’s
Chinese encyclopedia he argues that the impossibility involved in the
encyclopedia consists less in the fantastica
conceptual in Ludovico 2013
one side of the coin. The
other is the private and personal digitization and sharing of books.
On the basis of brilliant open source tools like the DIY Bookscanner,3 there
are various technical and conceptual efforts to building specialist digital
libraries. _Monoskop_4 is exemplary: its creator Dusan Barok has transformed
his impressive personal collection of media (about contemporary art, culture
and pol
conceptual in Marczewska, Adema, McDonald & Trettien 2018
ation: a fusion of making and doing, of OA as an
attitude and OA as form. But for poethical OA to become a
possibility, OA as praxis needs to emerge first.
To think about OA as praxis is to invite a conceptual shift
away from making publications OA and towards ‘doing OA’
as a complete project. OA seen as such ceases to exist as yet
another platform and emerges as an attitude that has the
potential to tr
hat
breaks through formalisations of thought. Especially if as part
of our intra-actions with the world and today’s society we
can better reflect and perform its complexities. A scholarly
poethics, conceptualised as such, would include forms of
openness that do not simply repeat either established forms
22
Janneke Adema
The Poethics of Openness
23
References
This doesn’t mean that as part of
discu
conceptual in Mars & Medak 2019
ns acting as peers sharing their catalogs and books. Sven
Spieker’s The Big Archive: Art from Bureaucracy (2008) showed us the
exciting hybrid meta-space between psychoanalysis, media theory,
and conceptual art one could encounter by visiting the world of
catalogs and archives. Understanding capitalism and schizophrenia would have been hard without Semiotext(e)’s translations of
Deleuze and Guattari, a
conceptual in Mattern 2014
[1971]); Alan Latham, Derek McCormack, Kim McNamara and Donald McNeil, _Key Concepts in Urban Geography_ (Thousand Oaks, CA: Sage, 2009): 32; Ming Xu and Josh P. Newell, “[Infrastructure Ecology: A Conceptual Mode for Understanding Urban Sustainability](http://css.snre.umich.edu/publication/infrastructure-ecology-conceptual-model-understanding-urban-sustainability),” Sixth International Conference of the
conceptual in Mars & Medak 2017
n active part in creation of artwork, thus creating spaces of dialogue and
alternative learning experiences as platforms for emancipation and social
transformation. Grounded within a postdisciplinary conceptual framework, her
artistic practice is produced via research and expression in diverse media located at
the boundaries between reality and virtuality.
ABOUT THE CONVERSATION
I have known Marcell Mars si
t European art festivals and institutions such as
Documenta (Kassel), Transmediale/HKW (Berlin) or Ars Electronica (Linz). As a
rule of thumb, critical new media and art could only be considered in a conceptual
setup of hybrid institutions, conferences, forums, festivals, (curated) exhibitions
and performances – and all of that at once! The Multimedia Institute was an active
part of that history, so it is
conceptual in Medak, Mars & WHW 2015
he Public School, n.d.,
https://www.thepublicschool.org/.
Public library (essay)
83
UbuWeb18 is the most significant and largest online
archive of avant-garde art; it was initiated and is lead
by conceptual artist Kenneth Goldsmith. UbuWeb,
although still informal, has grown into a relevant
and recognized critical institution of contemporary
art. Artists want to see their work in its catalog and
thus agr
conceptual in Sekulic 2015
y thus define themselves as
commoners by excluding others from their milieu, from their own privileged
commons." (Stavrides 2010). If learning carefully from digital commons, urban
commons need to be conceptualized on the basis of the public, with a self-
regulating community that is open for others to join. That socializes
knowledge and thus produces and reproduces the commons, creating a space for
politica
conceptual in Sollfrank 2018
a remarkable
collection of thousands of artworks—among them almost 700 films and videos,
over 1000 sound art pieces, dozens of filmed dance productions, an
overwhelming amount of visual poetry and conceptual writing, critical
documents, but also musical scores, patents, electronic music resources, plus
an edition of vital new literature, the /ubu editions. Ubu contextualizes the
archived objects within cu
ch all
are not 100 percent original but still a bit more original than an arbitrary
unlimited edition. Leaving this whole discussion aside was a clear indication
that something else was at stake. The conceptual statement made by the
exhibition and its makers foregrounded the nature of the shadow library, which
visitors were able to experience when entering the gallery space. Instead of
viewing the artworks i
shifting the avant-garde
gesture which copying used to be in the twentieth century, to breathe new life
in the “culture of collecting, organizing, curating, and sharing content.”
Organizing this conceptually concise exhibition was a brave and bold statement
by the art institution: The Onassis Cultural Centre, one of Athens’ most
prestigious cultural institutions, dared to adopt a resolutely political
conceptual in Sollfrank, Francke & Weinmayr 2013
ry to frame and to describe the approach taken, like the strategy, what’s
been pirated and what was the strategy. [18:55] And this is quite a lot,
because it’s giving you the framework of it, the conceptual framework. But
it’s not giving you the book, and this is really important because lots of the
books couldn’t be digitised, because it’s exactly their material quality which
is important, and w
conceptual in Sollfrank & Kleiner 2012
[38:02]
Thimbl is another work, and it is completely online. This work in some ways
has become a signature work for us, even though it doesn't really have any
physical presence. It's a purely conceptual work. [38:15] One of the arguments
that the Manifesto makes is that the Internet was a fully distributed social
media platform – that's what the Internet was, and then it was replaced,
because of ca
conceptual in Sollfrank & Snelting 2014
ike a separation between teaching
technology and practice. So you have, in different ways, let’s say, you have
the studio practice and then you have the workshops. And it’s very difficult
to make conceptual connections between the two, so we end up trying to make
that happen but it’s clearly not made for that. [24:02] And then there is the
problematics of the hierarchies between tutors and students, t
conceptual in Stalder 2018
out the corresponding technological
infrastructure, neither could be achieved efficiently or on a large
scale. This was evident in the 1970s, when such approaches never made it
beyond subcultures and conceptual studies. With today\'s search engines,
every single user can trawl through an amount of information that, just
a generation ago, would have been unmanageable even by professional
archivists. A broad a
hey do so in order to pursue
partial, short-term, and personal goals. Not only are people separated,
but so too are different areas of life. In a market-oriented society,
for instance, the economy is conceptualized as an independent sphere. It
can therefore break away from social connections to be organized simply
by limited formal or legal obligations between actors who, beyond these
obligations, have nothi
loped the first calculating machine, which
could carry out all four of the basic types of arithmetic. He was not
motivated to do this by the practical necessities of production and
business (although conceptually groundbreaking, Leibniz\'s calculating
machine remained, on account of its mechanical complexity, a unique item
and was never used).[^80^](#c2-note-0080){#c2-note-0080a} In the
estimation of the phi
-note-0052} Harrison Rainie and Barry Wellman,
*Networked: The New Social Operating System* (Cambridge, MA: MIT Press,
2012). The term is practical because it is easy to understand, but it is
also conceptually contradictory. An individual (an indivisible entity)
cannot be defined in terms of a distributed network. With a nod toward
Gilles Deleuze, the cumbersome but theoretically more precise term
"dividu
ction. Thus, this set
of concepts, which is strictly oriented toward economic production
alone, is more problematic than ever. My decision to use these concepts
is therefore limited to clarifying the conceptual transition from the
previous chapter to the chapter at hand. The concern of the last chapter
was to explain the forms that cultural processes have adopted under the
present conditions -- ubiquitous te
development is the spread and
entrenchment of post-democracy. The term was coined in the middle of the
1990s by Jacques Rancière. "Post-democracy," as he defined it, "is the
government practice and conceptual legitimization of a democracy *after*
the demos, a democracy that has eliminated the appearance, miscount and
dispute of the people."[^3^](#c3-note-0003){#c3-note-0003a} Rancière
argued that the imme
conceptual in Stankievech 2016
ically structured, themed library is a three-dimensional instance of a library that performatively articulates and potentiates itself,
which is not yet to say exhibits, as both spatial occupation and
conceptual arrangement, where the order of things emerges
experimentally, and in changing versions, from the collection
and its unusual cataloging.50
47
48
49
50
Saxl speaks of “many tentative and personal
conceptual in Thylstrup 2019
clash.”68
As Ian Hacking and many others have noted, the capacious usage of the notion
of “politics” threatens to strip the word of meaning.69 But talk of a politics
of mass digitization is no conceptual gimmick, since what is taking place in
the construction and practice of mass digitization assemblages plainly is
political. The question, then, is how best to describe the politics at work in
mass dig
veryday life.98
Standards allow for both minute data analytics and overarching political
systems that “govern at a distance.”99 Standardization understood in this way
is thus a mode of capturing, conceptualizing, and configuring reality, rather
than simply an economic instrument or lubricant. In a sense, standardization
could even be said to be habit forming: through standardization, “inventions
become
xon mentality is a preeminently French construct that has a clear and
rich rhetorical function to strengthen the French self-understanding vis-à-vis
a stereotypical “other.”10 While fuzzy in its conceptual infrastructure, the
French rhetoric of the Anglo-Saxon is nevertheless “instinctively understood
by the vast majority of the French population” to denote “not simply a
socioeconomic vision loose
both ideas about post sovereignty and pure nationalization, viewing
mass digitization instead through the lens of late-sovereignty. As this
chapter shows, the notion of late-sovereignty allows us to conceptualize mass
digitization programs, such as Europeana, as globalized phenomena couched
within the language of (supra)national sovereignty. In the age where rampant
nationalist movements sweep through globa
lating book that brings together
information theory and cybernetics, physics, philosophy, economy, biology,
politics, and folk tales, French philosopher Michel Serres constructs an
argument about the conceptual figure of the parasite to explore the parasitic
nature of social relations. In a dizzying array of images and thought-
constructs, Serres argues against the idea of a balanced exchange of energy,
sugg
argues, frames the Asian pirate as external to order, whether it be the
order of Western law or neoliberalism.60
The postcolonial critique of CC’s Western normative discourse has instead
sought to conceptualize piracy, not as deviatory behavior in information
economies, but rather as an integral infrastructure endemic to globalized
information economies.61 This theoretical development offers valuable insi
with the mass digitization of cultural heritage collections,
however, but also resides at the heart of some of the most influential early
digital theories on the digital realm.26 These theorized and conceptualized
the web as a new form of architectural infrastructure, not only in material
terms (such as cables and servers) but also as a new experiential space.27 And
in this spatialized logic, the figure of
iscoveries, by “accidental
sagacity,” of things which they were not in quest of.” 64 And he proposed a
new word—“serendipity”—to describe this sublime talent for discovery.
Walpole’s conceptual invention did not immediately catch fire in common
parlance.65 But a few centuries after its invention, it suddenly took hold.
Who awakened the notion from its dormant state, and why? Sociologists Rob
conceptual in Weinmayr 2019
note-514)
Kelly’s and Fitzpatrick’s examples describe the paradoxes that the demand for
authorship creates for collective practices. But how can we actually escape
regimes of authorship that are conceptualised and economised as ‘cultural
capital’?
Academic authorship, after all, is the basis for employment, promotion, and
tenure. Also, arguably, artists who stop being ‘authors’ of their own wor
#footnote-508)
As intended, the work quickly turned into a
collectible[19](ch11.xhtml#footnote-507) and attracted lots of applause from
members of the contemporary art world including, among others, conceptual
writer Kenneth Goldsmith, who described the work as a ‘terribly ballsy move’.
Prince was openly ‘pirating what is arguably the most valuable property in
American literature, practically begging
as been ascribed
artistic authorship as well as authorial agency by the institutions of the art
world.[30](ch11.xhtml#footnote-496)
Coming back to Prince’s appropriation of Catcher in the Rye, his conceptual
gesture employs necessarily the very rhetoric and conceptual underpinnings of
legislation and jurisdiction that he seemingly
critiques.[31](ch11.xhtml#footnote-495) He declares ‘this is an artwork by
Richard Prince, © Richard Prince’ and asserts, via claim
paradoxical
gesture, he seemingly replaces ‘authorship’ with authorship and ‘ownership’
with ownership. And by doing so, I argue, he reinforces its very concept.
The legal framework remains conceptual, theoretical and untested in this case.
But on another occasion, Prince’s authorship was tested in court — and
eventually legally confirmed to belong to him. This is crucial to my inquiry.
What
out to challenge in the first place. Therefore Richard Prince’s ongoing
games[52](ch11.xhtml#footnote-474) might be entertaining or make us laugh, but
they stop short of effectively challenging the conceptualisation of
authorship, originality and property because they are assigned the very
properties that are denied to the authors whose works are copied. That is to
say, Prince’s performative toying with
l#footnote-466)
However, from a legal perspective I would argue that both Noland and Prince —
in their opposite approaches of removing and adding their signatures — affirm
authorship as it is conceptualised by the law.[61](ch11.xhtml#footnote-465)
After all ‘copyright law is a system to which the notion of the author appears
to be central — in defining the right owner, in defining the work, in
ollaborative, and communicative nature of authorial activity in a way that
the Romantic [individual genius] account never
can.’[84](ch11.xhtml#footnote-442)
Such a participatory and interdependent conceptualisation of authorship is
illustrated and tested in the Piracy Project’s research into reprinting,
modifying, emulating and commenting on published books. As such it revisits —
through material pra
uthor
remains an anonymous ghost. Equally there is no financial profit to be made,
as long as the pirate version is not pointed out to readers as an extended
version. Such act is also not framed as a conceptual gesture, as it is the
case with Prince’s Catcher in the Rye. It rather operates under the radar of
everyone, and moreover and importantly, any revelation of this intervention or
any claim of authors
gue (Barcelona: Museu d’Art Contemporani de Barcelona, 2009),
pp. 26–28 (p. 29)) Moral rights are the personal rights of authors, which
cannot be surrendered fully to somebody else because they conceptualize
authorship as authentic extension of the subject. They are ‘rights of authors
and artists to be named in relation to the work and to control alterations of
the work.’ (Bently, ‘Copyright and
4/67844/fragments-toward-an-understanding-of-a
-week-that-changed-everything/>
[108](ch11.xhtml#footnote-418-backlink) Susan Kelly describes Felix Guattari’s
use of the term transversality ‘as 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 […] and different forms of
(collective) subj
quiry.uchicago.edu/>publication_power_and_patronage_on_inequality_and_academic_publishing/
[115](ch11.xhtml#footnote-411-backlink) See Gérard Genette’s discussion of the
‘pseudonym effect’ as conceptual device. He distinguishes between the reader
not knowing about the use of the pseudonym and the conceptual effect of the
reader having information about the use of a pseudonym. Gérard Genette,
Paratexts, Thresholds of Interpretation (Cambridge University Press, 1997).
[116](ch11.xhtml#footnote-410-backli
conceptual in WHW 2016
“expand
our collective imagination beyond what capitalism allows”.4 They not only
point to the problems but address them head on. By negotiating art’s autonomy and impact on the social, and by conceptualizing the whole edifice
of art as a social symptom, such practices attempt to do more than simply
squeeze novel ideas into exhausted artistic formats and endow them with
political content that produces
s. By doing so, they question the traditional edifice of art in a way
that supports Peter Osborne’s claim that art is defined not by its aesthetic
or medium-based status, but by its poetics: “Postconceptual art articulates a post-aesthetic poetics.”22 This means going beyond criticality and
bringing into the world something defined not by its opposition to the real,
but by its creation of the fiction o
Display 200 300 400 500 600 700 800 900 1000 ALL characters around the word.