Difference between revisions of "TransActing: A Market of Values Publication"

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Members of the Working Group: Sissu, Metod, Amy and Eva  
+
<div style="font-size: 150%;"><span style="background:#ff0">'''This is the #TransActing Publication Working Group Page </span></div>
Co-ordinator: [[User: Marsha|Marsha]]<br>
+
'''Members:''' Sissu, Metod, Amy, Eva and Cinzia<br>
== February 2015 - A Few Formative Thoughts ==
+
'''Co-ordinator:''' [[User: Marsha|Marsha]]<br>
'''Neil challenges us in our [[Minutes for 9th February 2015|9th February]] meeting to frontload some important thinking about the publication:''' <br>
+
{| border="1" style="text-align:right" cellpadding="5" cellspacing="0"
Q: Who is it for? <br>
+
|-
A: It's for past/present and future audiences and partners interested in CP's work. Differently put: It's not only for CP. Or for the CCW community/art research community, though these are audiences, for sure. <br>
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! style="text-align: left;" bgcolor=040000| <span style="color: white; ">FEBRUARY 2015</span>
<br>
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! style="text-align: left;" bgcolor=040000| 
Q: What are we producing it? <br>
+
|-
A: Metod: Could you refrain the question? It's not clear. <br>
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! style="text-align: left;" bgcolor=FFFFFF| 9th February:
<br>
+
! style="text-align: left;" bgcolor=FFFFFF| [[TransActing Publication: A Few Formative Thoughts|A Few Formative Thoughts]]
Q:How will we manage the printing/distribution, etc.?<br>
+
|-
A:This hasn't yet been determined. But as Marsha has applied for and received money for this aspect of the Market, and as CCW understands the publication as being part of her fellowship, her stake in the process needs to be acknowledged for the sake of transparency...some kind of editorial position. <br>
+
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">MARCH 2015</span>
<br>
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! style="text-align: left;" bgcolor=040000| 
'''Some thoughts by Metod based on current knowledge and previous experience''':<br>
+
|-
Q: Are we doing Market publication separate to the Market, or alongside it, but publish it afterwards? Parade was separate, but [[minutes for 9th February 2015 | minutes on the 9. Feb]] and previous discussions suggest alongside the Market. <br>
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! style="text-align: left;" bgcolor=FFFFFF| 3rd March:
A: While this was the initial plan, it now seems to make more sense to realise the bulk of the publication retrospectively, after the market has been completed. This isn't idea for many reasons--not the leas to which because we'd like to have something to distribute at the market. Could we be creative about this?. Could it be something that also features in the publication but is released in advanced? A kind of teaser? <br>
+
! style="text-align: left;" bgcolor=FFFFFF| [[TransActing Publication Meeting Minutes: 3 March 2015|Publication Meeting Minutes]]
<br>
+
|-
Q: Are we producing the publication independent from Chelsea? This will determine how much I will get involved in the publication (this is based on experience).<bR>
+
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">APRIL 2015</span>
A: This is also something can't be answered--yet. At the moment, the money is coming from Chelsea. And as we know, money typically comes with strings. We should have more sorted in due course. <br>
+
! style="text-align: left;" bgcolor=040000|
<br>
+
|-
Q: Publication's visuals should be tied in with the [[Curatorial Market Pack|curatorial pack]], press, open call, invitations, market promotion (FB, TW, blog posts, newsletters...) and its material, and market visuals? We need to start thinking about market's visual look and feel now. Should we come up with a design brief together, or do you want me to design a few design concepts and present it to you in due course?<br>
+
! style="text-align: left;" bgcolor=FFFFFF| 21st April: 
A: Yes, this sounds like an excellent plan. Could we schedule a dedicated meeting to do this? There is a sense that the market's aesthetic needs to be highly flexible in some respects, with other aspects demonstrating strong continuity. In all likelihood, the images will need to be flexible - they'll be a combination of found visuals and photographs and drawings and patterns, etc. Perhaps it could be the case the fonts played a stronger role in tying things together? It would be good to hear Metod's take on this. We spoke about possibly using the 'Critical Practice' letter image as a bit of guide? <br>
+
! style="text-align: left;" bgcolor=FFFFFF| [[TransActing Publication Meeting Minutes 21 April 2015|Publication Meeting Minutes]]
 +
|-
 +
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">MAY 2015</span>
 +
! style="text-align: left;" bgcolor=040000|
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 11th May:
 +
! style="text-align: left;" bgcolor=FFFFFF| [[11 05 15 minutes| Publication Meeting Minutes]]
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 19th May: 
 +
! style="text-align: left;" bgcolor=FFFFFF| A structure for the publication is being developed [[Publication structure in progress|here]]
 +
|-
 +
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">JUNE 2015</span>
 +
! style="text-align: left;" bgcolor=040000|
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 1st June 
 +
! style="text-align: left;" bgcolor=FFFFFF| We manage to bring all the minutes/and agendas together [[TransActing Publication Meeting Agendas AND Minutes|here]]  
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 3rd June
 +
! style="text-align: left;" bgcolor=FFFFFF| Amy posts TransActing Timeline counting down action to take place [[Publication structure in progress|here]]
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 4th June
 +
! style="text-align: left;" bgcolor=FFFFFF| Wendy emails to request our CCW posters are ready for the 19th - when the degree show starts. Metod suggests the publication group add publicity to its remit.  
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 12th June
 +
! style="text-align: left;" bgcolor=FFFFFF| [[TransActing Flyer, Poster and Press Release|Developing the press release with Wendy Short and Sarah McLean]]
 +
|-
 +
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">SEPTEMBER 2015</span>
 +
! style="text-align: left;" bgcolor=040000|
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 4th September
 +
! style="text-align: left;" bgcolor=FFFFFF| We have a very enjoyable Skype session discussing terms for [[Glossary]].  
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 9th September
 +
! style="text-align: left;" bgcolor=FFFFFF| As summer is now over, it's time to round up the content. Here's a page detailing the [[TransActing: Stallholders' Contributions|stallholders' contributions to the publication]]
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 17th September
 +
! style="text-align: left;" bgcolor=FFFFFF| [[TransActing Publication: Deadlines]]
 +
|-
 +
! style="text-align: left;" bgcolor=040000| <span style="color: white; ">MAY 2016</span>
 +
! style="text-align: left;" bgcolor=040000|
 +
|-
 +
! style="text-align: left;" bgcolor=FFFFFF| 4th May
 +
! style="text-align: left;" bgcolor=FFFFFF| [[04 05 16 minutes| Publication Meeting Minutes]]
 +
|
 +
[[TransActing Narrative]]
 +
|
 +
|}
 +
 
 
----
 
----
There are meeting minutes that are missing here...
+
● Foreword’ by Malcolm Quinn,<br>
 +
o (500 words) Establish the book’s significance relative to others, focusing specifically on the uniqueness of the #TransActing project and the book’s approach to representing it; establish why the authors of this book are well-qualified to write about this project and what makes their first-hand, practitioner-based approach interesting; establish why the book is worth reading and how it might enhance the reader’s understanding of practice- based art, design and architectural research.<br>
 +
<bR>
 +
● ‘General Introduction’ co-authored by Critical Practice Research Cluster (CP)—led by publication editorial team<br>
 +
o (1000 words) Introduce the #TransActing project and Critical Practice Research Cluster as its facilitators; discuss the group’s research trajectory and how #TransActing builds on previous research; establish the book’s rationale as part manual, part document, part critical/contextual reflection, underscoring its commitment to providing a blueprint for other large-scale, long-term and self-organised practice-research projects; highlight the book’s various texts and components to indicate what contribution they make in particular.<br>
 +
● Commissioned Texts variously authored by both those directly involved in the project and others who interest in #TransActing after the fact prompted them to write contextual essays related to their specific interests and areas of specialisation<br
 +
o (500 words) ‘Introduction to the Commissioned Texts’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art) and Verina Gfader (member of Critical Practice Lectured at Goldsmiths, University of London, Department of Art): Identify key themes linking them together as well as specific points of difference between them.<Br>
 +
o (2000 words) ‘Happy Anniversary, Critical Practice’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art): Discuss the development of CP over its ten years of international activity, highlighting key projects in this research trajectory and how they anticipate #TransActing to trace the project’s history through the development of the cluster’s practice; draw out CP’s ethos as an open organisation that prioritises peer-to-peer exchange and informal education under the umbrella of Chelsea College of Arts as a degree-granting institution of art-and-design-based learning.<br>
 +
(3100) ‘
 +
(3500 words) ‘Dialogue on Value’ (Title TBC) between Dr Verina Gfader (Lecturer at Goldsmiths, University of London, Department of Art) and Professor Andrea Phillips (PARS Professor of Art and
 +
#TransActing project within broader research and thinking on value, exploring in particular the Market of Values as an
 +
alternative to the art market to highlight the different value systems at stake in different
 +
arenas.<br>
 +
o (3200 words) ‘
 +
o (2000 words) ‘The Artistic Economies’ (Title TBC) Dr Jakub Szreder (Independent Curator and Founder of Free/Slow University Warsaw): This essay will highlight key aspects of the economy of art as a kind of alternative or virtual economy that combines both highly formalised and more informal aspects to create a game where the (un)spoken rules can only be grasped through playing it.
 +
Techniques of Aberrant Extraction: Transacting Surplus Acts in an Age of
 +
Speculation’ by Emily Roasmund (artist, writer and educator. Currently, she is a
 +
Commonwealth Scholar in the Art PhD program at Goldsmiths, University of London):
 +
This vividly rendered essay describes the Market of Values from the perspective of a
 +
piece of the alternative currency that was created for this one-day event. The currency
 +
circulates through multiple stalls, highlighting the wide range of transactions comprising
 +
the Market as a non-commercial trading place.
 +
Head of Research at the Valand Academy, University of
 +
Gothenburg): This exchange contextualises the
 +
Remembering and Forgetting Consumerism’ by Professor Nicholas
 +
Temple (University of Huddersfield): This rich account explores consumerism through
 +
the history of markets, with specific focus on how they have served various social
 +
functions from the fairs of Renaissance through to the contemporary shopping mall.
 +
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
 +
Tel: 44 (0)117 958 9910 / Fax: 44 (0)117 958 9911 / E-mail: books@intellectbooks.com
 +
8
 +
o (1200 words) ‘Minor Compositions: Notes Toward a Publishing of Resonance’ Dr Stevphen Shukaitis (Senior Lecturer in Culture and Organization, University of Essex): Considers the economy of publishing as a social process of organisation that has potential to radicalise culture through open publishing.
 +
o (2000 words) ‘Shelter and Platform’ a dialogue between Amy McDonnell (member of Critical Practice, Independent Curator and Ph.D. candidate at Chelsea College of Arts) and Eva Sajovic (member of Critical Practice and artist, photographer and educator affiliated with University of the Arts London):
 +
o (1000 words) ‘Taking Enzo to Market’ by Dr Marsha Bradfield (the book’s lead editor) and Andreas Lang (founding member of art and architecture collective, Public Works): Told through a combination of images and captions, this highly visual essay will draw on open-source stalls designs for the Market of Values that were inspired by Italian designer, Enzo Mari and created by public works in collaboration with CP.
 +
● (5000 words) ‘#TransActing: A Market of Values - Research Project Narrative’ (co-authored by Critical Practice): Told across
 +
● #TransActing: The Market of Values as an Event: variously authored by those directly involved in the project; first-hand accounts of the market.
 +
o (500 words) ‘Introduction to #TransActing: The Market of Values as an Event’ co- authored by the publication’s editorial team: Provide key information about the Market of Values, including a brief description of building the structure leading up to the event and what happened on the day; identify main themes linking the stalls together as well as specific points of difference between them.
 +
o (21000 words) ‘Stallholder Reflections’: Each of the 60 stalls in the Market as written a 350-word description of their activity; an image accompanies each of these reflective texts.
 +
● (3000 words) ‘Instead of a Conclusion, DIY/DIWO a The Market of Values’: This manual aims to condense prime learning from researching and realising the Market of Values into a series of steps that aim to inspire others to realise their own market. The example of an upcoming market in Deptford Market will feature here as indicative of how CP’s Market of Values can be adopted and adapted by other constituencies to explore their specific practice-based concerns.
 +
● (5000 words) ‘Glossary of Key Terms Developed through #TransActing: A Market of Values’: Co-authored by CP and coordinated by Dr Cinzia Cremona (Wimbledon College of Arts); aims to nuance understanding of language used throughout the publication with reference to how it has come to resonate in CP’s discourse.
 +
● (1000 words) Acknowledgements
  
  
----
+
Return to [[TransActing: A Market of Values]]
 
+
<br>
+
Eva, Sissu, Amy and Marsha
+
*Perhaps offer a peer-reviewed essay for a journal
+
*We talk about contacting Ra Ra and Minor Compositions - we could offer both them
+
*We talk about how to write the proposal
+
*We talk about previous conversations with Critical Practice - documentation of the process leading up to it. Another one is a research-led section thinking about markets - systems of exchange and then documentation of the event itself.
+
:*Second part: What makes a market a market? Not something else... We don't want 'the market' to become too generic a thing! So the idea is to really drill and focus on one thing. Looking into the historical/conceptual line. Thinking about a diagram or glossary. If people were interested in pursuing that, could we make it an open thing and anyone in Critical Practice could contribute.
+
  
 
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[[File:CP letters.png|300px]]<br>
 
[[File:CP letters.png|300px]]<br>
 
+
----
 
+
'''Deadlines:'''<br>
 +
----
 +
1st August: Content from stallholders <br>
 
   
 
   
 
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Latest revision as of 14:36, 27 September 2016

This is the #TransActing Publication Working Group Page

Members: Sissu, Metod, Amy, Eva and Cinzia
Co-ordinator: Marsha

FEBRUARY 2015
9th February: A Few Formative Thoughts
MARCH 2015
3rd March: Publication Meeting Minutes
APRIL 2015
21st April: Publication Meeting Minutes
MAY 2015
11th May: Publication Meeting Minutes
19th May: A structure for the publication is being developed here
JUNE 2015
1st June We manage to bring all the minutes/and agendas together here
3rd June Amy posts TransActing Timeline counting down action to take place here
4th June Wendy emails to request our CCW posters are ready for the 19th - when the degree show starts. Metod suggests the publication group add publicity to its remit.
12th June Developing the press release with Wendy Short and Sarah McLean
SEPTEMBER 2015
4th September We have a very enjoyable Skype session discussing terms for Glossary.
9th September As summer is now over, it's time to round up the content. Here's a page detailing the stallholders' contributions to the publication
17th September TransActing Publication: Deadlines
MAY 2016
4th May Publication Meeting Minutes

TransActing Narrative


● Foreword’ by Malcolm Quinn,
o (500 words) Establish the book’s significance relative to others, focusing specifically on the uniqueness of the #TransActing project and the book’s approach to representing it; establish why the authors of this book are well-qualified to write about this project and what makes their first-hand, practitioner-based approach interesting; establish why the book is worth reading and how it might enhance the reader’s understanding of practice- based art, design and architectural research.

● ‘General Introduction’ co-authored by Critical Practice Research Cluster (CP)—led by publication editorial team
o (1000 words) Introduce the #TransActing project and Critical Practice Research Cluster as its facilitators; discuss the group’s research trajectory and how #TransActing builds on previous research; establish the book’s rationale as part manual, part document, part critical/contextual reflection, underscoring its commitment to providing a blueprint for other large-scale, long-term and self-organised practice-research projects; highlight the book’s various texts and components to indicate what contribution they make in particular.
● Commissioned Texts variously authored by both those directly involved in the project and others who interest in #TransActing after the fact prompted them to write contextual essays related to their specific interests and areas of specialisation<br o (500 words) ‘Introduction to the Commissioned Texts’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art) and Verina Gfader (member of Critical Practice Lectured at Goldsmiths, University of London, Department of Art): Identify key themes linking them together as well as specific points of difference between them.
o (2000 words) ‘Happy Anniversary, Critical Practice’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art): Discuss the development of CP over its ten years of international activity, highlighting key projects in this research trajectory and how they anticipate #TransActing to trace the project’s history through the development of the cluster’s practice; draw out CP’s ethos as an open organisation that prioritises peer-to-peer exchange and informal education under the umbrella of Chelsea College of Arts as a degree-granting institution of art-and-design-based learning.
(3100) ‘ (3500 words) ‘Dialogue on Value’ (Title TBC) between Dr Verina Gfader (Lecturer at Goldsmiths, University of London, Department of Art) and Professor Andrea Phillips (PARS Professor of Art and

  1. TransActing project within broader research and thinking on value, exploring in particular the Market of Values as an

alternative to the art market to highlight the different value systems at stake in different arenas.
o (3200 words) ‘ o (2000 words) ‘The Artistic Economies’ (Title TBC) Dr Jakub Szreder (Independent Curator and Founder of Free/Slow University Warsaw): This essay will highlight key aspects of the economy of art as a kind of alternative or virtual economy that combines both highly formalised and more informal aspects to create a game where the (un)spoken rules can only be grasped through playing it. Techniques of Aberrant Extraction: Transacting Surplus Acts in an Age of Speculation’ by Emily Roasmund (artist, writer and educator. Currently, she is a Commonwealth Scholar in the Art PhD program at Goldsmiths, University of London): This vividly rendered essay describes the Market of Values from the perspective of a piece of the alternative currency that was created for this one-day event. The currency circulates through multiple stalls, highlighting the wide range of transactions comprising the Market as a non-commercial trading place. Head of Research at the Valand Academy, University of Gothenburg): This exchange contextualises the Remembering and Forgetting Consumerism’ by Professor Nicholas Temple (University of Huddersfield): This rich account explores consumerism through the history of markets, with specific focus on how they have served various social functions from the fairs of Renaissance through to the contemporary shopping mall. Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK Tel: 44 (0)117 958 9910 / Fax: 44 (0)117 958 9911 / E-mail: books@intellectbooks.com 8 o (1200 words) ‘Minor Compositions: Notes Toward a Publishing of Resonance’ Dr Stevphen Shukaitis (Senior Lecturer in Culture and Organization, University of Essex): Considers the economy of publishing as a social process of organisation that has potential to radicalise culture through open publishing. o (2000 words) ‘Shelter and Platform’ a dialogue between Amy McDonnell (member of Critical Practice, Independent Curator and Ph.D. candidate at Chelsea College of Arts) and Eva Sajovic (member of Critical Practice and artist, photographer and educator affiliated with University of the Arts London): o (1000 words) ‘Taking Enzo to Market’ by Dr Marsha Bradfield (the book’s lead editor) and Andreas Lang (founding member of art and architecture collective, Public Works): Told through a combination of images and captions, this highly visual essay will draw on open-source stalls designs for the Market of Values that were inspired by Italian designer, Enzo Mari and created by public works in collaboration with CP. ● (5000 words) ‘#TransActing: A Market of Values - Research Project Narrative’ (co-authored by Critical Practice): Told across ● #TransActing: The Market of Values as an Event: variously authored by those directly involved in the project; first-hand accounts of the market. o (500 words) ‘Introduction to #TransActing: The Market of Values as an Event’ co- authored by the publication’s editorial team: Provide key information about the Market of Values, including a brief description of building the structure leading up to the event and what happened on the day; identify main themes linking the stalls together as well as specific points of difference between them. o (21000 words) ‘Stallholder Reflections’: Each of the 60 stalls in the Market as written a 350-word description of their activity; an image accompanies each of these reflective texts. ● (3000 words) ‘Instead of a Conclusion, DIY/DIWO a The Market of Values’: This manual aims to condense prime learning from researching and realising the Market of Values into a series of steps that aim to inspire others to realise their own market. The example of an upcoming market in Deptford Market will feature here as indicative of how CP’s Market of Values can be adopted and adapted by other constituencies to explore their specific practice-based concerns. ● (5000 words) ‘Glossary of Key Terms Developed through #TransActing: A Market of Values’: Co-authored by CP and coordinated by Dr Cinzia Cremona (Wimbledon College of Arts); aims to nuance understanding of language used throughout the publication with reference to how it has come to resonate in CP’s discourse. ● (1000 words) Acknowledgements


Return to TransActing: A Market of Values


Return to Main Page

CP letters.png


Deadlines:


1st August: Content from stallholders