Differences
This shows you the differences between two versions of the page.
| Both sides previous revision Previous revision | |||
| just_the_questions [2020-06-05 06:20] – old revision restored (2020-04-16 10:30) 114.119.164.72 | just_the_questions [2020-06-05 08:14] (current) – old revision restored (2020-04-17 03:25) nik | ||
|---|---|---|---|
| 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/ | ||
114.119.164.72