Differences
This shows you the differences between two versions of the page.
| Both sides previous revision Previous revision | Last revisionBoth sides next revision | ||
| just_the_questions [2020-04-17 03:25] – nik | just_the_questions [2020-06-05 06:20] – old revision restored (2020-04-16 10:30) 114.119.164.72 | ||
|---|---|---|---|
| Line 2: | Line 2: | ||
| partially automated question extraction from the files available at https:// | partially automated question extraction from the files available at https:// | ||
| - | |||
| - | === questions from: texts/ | ||
| - | |||
| - | < | ||
| - | What is radical admin? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | A group of around | ||
| - | 20 academics, artists and policy-makers gathered to discuss questions | ||
| - | including these ones: How is art regulated in and by participatory and/ | ||
| - | or collaborative research? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How does art itself (its aesthetics, institutions, | ||
| - | |||
| - | </ | ||
| - | |||
| - | < | ||
| - | How might art participate in productive critiques of | ||
| - | regulatory systems and infrastructures? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | KR to contact the designer and | ||
| - | contributors, | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT CAN ARTISTS | ||
| - | DO FOR BUSINESS? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Is it any wonder this is the same moment we become | ||
| - | less peeved by our systems, structures and formats and more proud of them? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The very ones we love to hate? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Perhaps it was a case of perception being | ||
| - | mistaken for reality? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | But who, I have to ask, will | ||
| - | assume the role that Steveni created and held historically of Artist Placement | ||
| - | Group’s uber administrator? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Could | ||
| - | we in Education Working Group or Incidental Unit again find ourselves in a | ||
| - | situation like the dynamic described above? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | This is to say: feminised labour | ||
| - | opens up opportunities (placements and others) but is precluded from taking | ||
| - | advantage of these because doing administration, | ||
| - | work disqualifies this feminised labour from either being taken seriously as | ||
| - | artistic practice or from pursuing other ways to make art? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | And who is this ‘us’? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | This begins with enquiring about open | ||
| - | to whom and, vitally, by whom? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | DO YOU REALLY PUT ALL OF | ||
| - | YOUR INCOME IN THE COMMON | ||
| - | WALLET ACCOUNT? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | DO YOU REALLY DO ALL OF | ||
| - | YOUR SPENDINGS FROM THE | ||
| - | COMMON WALLET ACCOUNT? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | HOW LONG HAVE YOU | ||
| - | BEEN DOING THIS? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | HOW MUCH DO YOU EARN ALL | ||
| - | TOGETHER ON AVERAGE? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | YOU MUST ALL HAVE VERY | ||
| - | SIMILAR LIVES THEN? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | HOW DO YOU MAKE IT WORK? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHO KEEPS TRACK OF WHO IS | ||
| - | SPENDING WHAT? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT IF ONE OF YOU SPENDS | ||
| - | MORE THEN THEY BRING IN? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | If we would all | ||
| - | be spending exactly what we bring in, then | ||
| - | what is the point of making our money a | ||
| - | commons? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT IF YOU DISAGREE ON | ||
| - | WHAT SOMEONE IS SPENDING | ||
| - | THEIR MONEY ON? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT DO YOU DO | ||
| - | WITH SAVINGS? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | This however | ||
| - | brings in a whole new level of complexity | ||
| - | and negotiation: | ||
| - | for individual goals and what if we have to | ||
| - | select between goals? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do we collectively | ||
| - | save for collective goals? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How do we | ||
| - | decide on those goals? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT HAPPENS IF IT | ||
| - | GOES WRONG? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT IF SOMEONE DECIDES | ||
| - | TO BUY A FERRARI? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do we have enough money on the | ||
| - | current account to buy a Ferrari? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | THIS ONLY WORKS IF YOU ARE | ||
| - | ALL GOOD FRIENDS, RIGHT? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | HAS THE COMMON WALLET | ||
| - | SOLVED YOUR MONEY PROBLEMS? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | WHAT IF YOU WANT OUT? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | CAN OTHER PEOPLE JOIN? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The questions I ask myself are | ||
| - | rather: do I trust myself enough? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do I believe I deserve the others’ trust? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | And am I doing enough? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Am I, in | ||
| - | other words, a good provider to the group? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | It is also striking that in the questions I pose myself I continue to individualise myself, rather | ||
| - | then thinking ‘are we doing enough?’ ‘how can we be good providers for each other? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | “Should I check how much I spent?” “Oh shit, can I even think this way?” | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How is it possible to generate equality | ||
| - | through the process of collaborative work, given that each individual comes with different | ||
| - | kinds of experience that produce diverse knowledge and levels of expertise and different | ||
| - | needs, ambitions and ways of doing things? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | • How to conceive the working process in | ||
| - | which one’s own needs and interests are | ||
| - | aligned with the collective and general ones? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | • How do we value the work which has | ||
| - | been performed and what has been jointly | ||
| - | produced? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How is this value reassigned | ||
| - | to individual collaborators, | ||
| - | collective and the wider social and natural | ||
| - | environment? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What are the prospects for | ||
| - | these new values to compete on the capitalist | ||
| - | market, which we all depend upon for | ||
| - | securing our basic living necessities? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | • How should these jointly produced | ||
| - | assets and values be distributed in order to | ||
| - | permeate the limits of the working collective, | ||
| - | and not weaken it? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Could the experience | ||
| - | of collaborative work generate more | ||
| - | sustainable social and natural environments | ||
| - | and livelihoods which in turn would function | ||
| - | as a support for developing more socially | ||
| - | and economically equitable relations? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | •How do we protect and secure the | ||
| - | |||
| - | communal status of the outcomes of | ||
| - | collaborative work within individualised and | ||
| - | privatised systems of value? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What is shared | ||
| - | and how, to what ends and through which | ||
| - | channels, and how might this be mobilised | ||
| - | to resist privatisation and support the | ||
| - | ongoing production of common values? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Day | ||
| - | jobs? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Commissions? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Government funding? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Direct sales? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | A gallerist? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The | ||
| - | informal economy of the precariat? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | |||
| - | Rather than allowing administration to infect our creative process, how can | ||
| - | we keep it in check? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How do we imbue it with something like the ideals | ||
| - | from Calvino’s Six Memos — lightness, quickness, exactitude, visibility, | ||
| - | multiplicity and consistency? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How could we reclaim tools of business administration and realign them | ||
| - | with more inclusive ethics and an aesthetics of generosity? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Can we increase | ||
| - | the probability of success through the numerology of creative accounting? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What promising ways could we imagine of transmuting administration into | ||
| - | a creative practice? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What do these materials feel like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The | ||
| - | smooth texture of printing paper, cool spikiness of paperclips? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What can you hear? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Clicking | ||
| - | of the keyboard, shuffling of paper, the whirring of a shredder… something else? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What | ||
| - | does your office space smell like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The scent of paper archives, or dusty floors, or the slightly | ||
| - | plasticky waft emanating from hot computers? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How does your body | ||
| - | feel — your shoulders, throat, chest, your hands or your belly? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Is there some tightness, | ||
| - | cramping, squeezing? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What thoughts arise? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What emotions? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | You might wonder — why would I engage with administration at all if | ||
| - | it poses such an existential threat to my wellbeing? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What, or what can we artists do… | ||
| - | When handling financial instruments feels dangerous? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | When funding applications read like incomprehensible occult texts, and accounting | ||
| - | spreadsheets are as indecipherable as the Kabbalah? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | When the language of funding appears too obscure, impenetrable, | ||
| - | alien logic? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | So could the tools of the dark arts help us engage with the bureaucratic and | ||
| - | economic strategies deployed around us? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Or, if we want to go a step further, | ||
| - | how do we consciously engage in the manipulation of reality through | ||
| - | administrative activities? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What if you could use some of | ||
| - | these instruments to pay your collaborators who are unable to get work | ||
| - | permits in your country? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Or if you could facilitate sharing of infrastructure | ||
| - | amongst distributed collectives? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What if you could reduce administrative | ||
| - | complexity? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What current obstacles that you are facing could be overcome | ||
| - | with experiments in the grey areas of global finance? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | While we may be relieved | ||
| - | to outsource paperwork to AI administrators, | ||
| - | costs? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Where is your home? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What does your home look like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | If there are windows, what can you see | ||
| - | outside, what are the surroundings like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Who are you? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What do you look like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What are you wearing? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What is your body posture? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Are you sitting, standing, lying down, moving? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What are you doing? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What is your work? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Are you working to live or do you live to work? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do you work alone or are you surrounded by your collaborators, | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How | ||
| - | are other entities engaged in your work? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What do they look like? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How do you communicate | ||
| - | with them? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Does your work support your livelihood? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Is there money in your world? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | If so, what is the role | ||
| - | of money in your life? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | If not, what is valued, what is exchanged? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What would become | ||
| - | important? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | How would you spend this last month? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Who would you be with, work with, share your life | ||
| - | with? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What if you had only a few minutes of life left in this world? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What would you really | ||
| - | care about? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What would you want to take with you, if anything? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What matters? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Why, then, does the idea persist? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Q: Where does the money come from? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | So that's more about accountability rather than accounting? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What is the legal status of this raffle? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do we need use the Chatham House Rule, in that we might not | ||
| - | want to talk about it outside of this room?As far as I know, in the UK you're not allowed to | ||
| - | gamble without a license? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Can we blog about this? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | I just wanted to double-check: | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | The pitch isn't going to be judged? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | So you can say any old shit? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Can you represent someone else's project? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | It's good that we listed the | ||
| - | National Health Service as a supporter in the festival budget (READER p. 34) | ||
| - | Can I make a suggestion? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Can you represent the other people in your delegation? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | That's what being a delegate is... | ||
| - | Where will the money be paid from - is that anonymous too? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Q: If you win, who invoices for the money? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Is the money taxable? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Where should that line | ||
| - | lie?. | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | And the delegation that wins, do they have to carry out their business idea? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Based on the other financial experiment that happened earlier in the festival (READER p. 12) - I realise | ||
| - | time is limited but does anyone want to create any ground rules for the person who wins | ||
| - | the money? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do we want to have three bullet points on how they should spend it, or does | ||
| - | everyone want to keep it completely open? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Are the stubs meant to be in the hat? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Hendo, do you want to just quickly explain what you're doing? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Do you have a raffle ticket? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | IBEX: Shall we begin? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Is this being recorded? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | What kind of recording? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | FoAM: From here or over there? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | HENDO: the countdown' | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Gainsborough Wharf? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Port | ||
| - | O' | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | RAMDIN: Anyone who has a ticket | ||
| - | who wasn't on the list? | ||
| - | </ | ||
| - | |||
| - | < | ||
| - | Anyone here who is not in the raffle? | ||
| - | </ | ||
| - | |||
| === questions from: texts/ | === questions from: texts/ | ||
nik