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+ | |||
+ | === 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/ |