maybe it is neighbourly to share the fruits of some of the grunt labour we do as students...the typing up of notes from books .. in the hope that we can weave some of these notes from big brains and minor poets through our own writings ..or use them to generate new trains of thoughts and aesthetic experiments
in that spirit i hereby post the few quotes i got from latour today ..honestly i find his theory hard, but sometimes i think its ok to skate around theory, and interpret it in your own way ... he has a nice turn of phrase anyway...
i have never done a detailed chapter breakdown
so all i have is this big-picture guide (which changes every year or so), and then the detailed chapter contents i do (and keep changing), as write up each chapter
i have posted a page of typical feedback from my principal supervisor -- sometimes he will email me 3 or 4 pages of typed notes ..othertimes ..if i am in sydney (where my uni is) we meet and he gives me hand written notes as marginalia on a print out of my chapter ..these seem legible when we talk thru them..but once i return to adelaide i realise i can't read his handwriting!
In this text a collection of notes on the book Bauhaus (1999), by Jeannine Fiedler and Peter Feierabend (editors) and in particular the introduction Bauhaus - geschichtlich by Andreas Haus, is used as a starting point for further reasonings about the ideas and motivations of the historic avant-garde in general and Bauhaus in particular, and why that matters for contemporary practices. Key issues are the development of arts and arts and crafts within an increasingly industrial economy, art/-isanal working methodologies and relationships with science and new technologies, and the notion of the artistic or artisianal community as a driver of social change.
Here is part 2 of a chapter that is in 4 parts
Structure is not one of my strengths, so i am lucky that the structure of each of my 3 case study chapters was designed by 1 of my supervisors
i think it is pretty much a standard marxian approach to looking at a topic
first u have to identify the "antagonism" or motivation for the project
next u have to describe its platforms and processes
then u analyse how it is embedded in a specific culture or context
Responding to something that Doll wrote
Lindsay I also feel *my* work doesn't make an easy fit into TNL compared to what you and Armin and some others post, because your writings are well-argued and/or intrigueingly speculative whereas a lot of what i am putting up is more rambly and thought processes scrawled as they come to me, as i am afraid that if i dont write everything, and repeat my ideas in different ways within the 1 text a number of times, i will lose what few idea kernels that i have in the thesis fog that surrounds me
we once were 3, and now at armin's good suggestion, we are 4
welcome ms.static, sound artist and artist thinker, whom i first met (i think) in the desert in central australia, at dancer/choreographer Tess de Quincy's magical 2-3 week workshop Triple Alice (a great research model in fact and perhaps something of interest given armin's desire to do moe reseaerchy workshop events)
Occasionally we share bits of our writing in process here -- without even necessarily wanting others to read it -- because just the simple act of publishing in a safe space i think can push the writing a long a little, give it a bit of electro-magnetic wave energy!
Hello Uncommonists, the GET PUBLISHED conference went well on tuesday. I was pleased to be seated next to a pair of employees from Taylor Francis, one of the biggest publishers of academic journals in the world. At the far end was a woman from Cambridge University Press, in between Tony White, who described himself as the "token author" and Anthony Iles from Mute magazine. What made me happy was that I could say that "academic research funded with public money should be in the public domain" (thereby implying not behind the walls of gatekeepers to knowledge such as taylor francis".