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robertogreco : anna-sophiespringer   6

Spaces of encounter: the performative art of reading | Thinkpiece | Architectural Review
"When the ‘counter novel’ Hopscotch by Julio Cortázar was published in 1963 it was celebrated as one of the most innovative experiments in 20th-century literature. The book was written to allow and encourage many different and complementary readings. As the author’s note at the beginning of the novel suggests, it can be read either progressively in the first 56 chapters or by ‘hopscotching’ through the entire set of 155 chapters according to a ‘Table of Instructions’. Cortázar also allows the reader the option of choosing their own unique path through the book. It’s no coincidence that the narrative – from the title of the book to the several overlapping stories that are contained in it – is based on a game often played in small groups in public spaces and playgrounds, in which the player has to hop or jump to retrieve a small object tossed into numbered patterns drawn on the ground. The book’s main structure has strong allusions to the notions of ‘space’ and the way we navigate through it, with its three main sections entitled ‘From the Other Side’, ‘From this Side’, and ‘From Diverse Sides’.

[image: "Since 2010, the ‘book bloc’ has been a visible feature of protests"]

Similarly, but from a different perspective, one of the first things the reader notes when flipping through Fantasies of the Library edited by Anne-Sophie Springer and Etienne Turpin and published in 2016 by MIT Press, is that the book itself can be understood as a kind of public space. In effect, it presents a brilliant dérive through books, book collections and the physical spaces of libraries from a curatorial perspective, going from private collections and the way their shelves are organised, to more ad hoc and temporary infrastructures, such as the People’s Library at Occupy Wall Street in New York, or the Biblioburro, a travelling library in Colombia that distributes books from the backs of two donkeys, Alfa and Beto. Various configurations and layouts have been designed in response to these narratives. They include essays, photos and interviews, setting up different kinds of encounters between authors, editors, readers, photographers and illustrators. Once you have the book in your hands, you gradually start to apprehend that the four conversations are printed only on left-hand pages, interspersed with other essays on right-hand ones. So it is only when you start reading voraciously and are interrupted by the ‘non-sense’ of these jumps, when the understanding of the dynamics imposed by the layout manifests itself, that you become aware you are already ‘hopscotching’ from page to page. The chapter ‘Reading Rooms Reading Machines’ is not only a visual essay about the power of books to create spaces around them and gather a community, it is also a curated, annotated and provocative history of these spaces as a conceptual continuation between the book and the city, ‘two environments in conjunction’, as Springer writes.

In some ways, it resembles the encounters you have in the streets of your neighbourhood. Some people you only glance at, others you smile at, there are a few with whom you talk and if you’re lucky, you might meet a friend. Within the texts, you can hop back and forth, approving, underlining, or absorbing in more detail. From individual object to the container known as the library, the idea of the book as a territory is explored in depth. Different kinds and sizes of spaces and the interactions that happen in and between them emerge. Springer describes the library as ‘a hybrid site for performing the book’ – a place where the book is not a static object but a space in which the reader is an active agent, coming and going from the outside; outside the pages and outside the library. It recalls Ray Bradbury’s assertion that: ‘Books are in themselves already more than mere containers of information; they are also modes of connectivity and interrelation, making the library a meta-book containing illimitable intertextual elements.’

[image: "Improvised book blocs on the street" from source: Interference Archive]

In moving from the ‘hopscotching’ suggested by Cortázar to the idea of the ‘library as map’ as discussed by Springer and Turpin, it is clear that the inextricable relationship between books and space forms the basis of our understanding of books as spaces of encounter, and the importance of heterogeneous books – whether fiction, poetry or critical theory – as spaces of encounter for architectural discourse. In that sense, books can be perceived as new kinds of spaces, where empathy, alterity and otherness are stronger than ideologies. Catalysing dissent and open dialogue, they can be one of the most effective tools of resistance in times of censorship, fake news and post-truth. Social anthropologist Athena Athanasiou explains how books have been used in public space as part of political struggles. ‘People have taken to the streets to fight for critical thinking and public education, turning books into banners and shields against educational cuts and neoliberal regimes of university governance’, she writes. This activism emphasises the strong symbolic power of the relationship between books and architectural spaces, ‘where the books were not only at the barricades, they were the barricades’. Such agency can transgress almost any kind of limit or boundary, and can happen in any sort of space – from your mobile device to the library or the street. But it is in the public sphere where the book’s agency can have the ‘power to affect’, becoming ‘a hybrid site for performing the book’ beyond the confines of the library.

Books can be ‘performed’ in many ways, especially when critical writing and the act of reading create spaces of encounter in the city. In June 2013, after plans were unveiled to develop Istanbul’s Gezi Park, artist Erdem Gunduz initiated his Standing Man protest while he stood motionless in Taksim Square for eight hours. This thoughtful form of resistance inspired a group of ‘silent readers’ who successfully transformed a space of fighting and friction into a meaningful space of encounter by simply standing still and reading books. It became known as the Tak sim Square Book Club, paradoxically one of the most dynamic demonstrations in recent years. The strength and energy contained in the bodies of each reader, but also in every book and the endless stories and narratives between covers, transformed Taksim Square into a highly politicised space. Instead of being compromised by conflict between government and citizens, it became a space of encounter that gave agency to each silent reader and to the wider collectivity they brought into being.

[image: "Readers in Istanbul’s Taksim Square transform the space through peaceful activism"]

The moment when writing, often carried out in solitude, is published, circulated and made accessible to everyone is the moment of generating public space, argues the French philosopher and art historian Georges Didi-Huberman. This was demonstrated in the ‘Parasitic Reading Room’, a nomadic, spontaneous and parasitic set of reading spaces staged during the opening days of the 4th Istanbul Design Biennial. Initially consisting of a series of out-loud readings of texts at selected venues, it then expanded to become an urban dérive across the streets of the city in the company of a mobile radio broadcasting the live readings. In that moment, the ‘walking reading room’ became a space of exchange, knowledge and collaboration. Different points of view coexisted, enriching each other, forming knowledge assemblages. It reminds us that reading together, whether silently or aloud, forces us to interact, to respect the times and rhythms of others, to learn new words and their sounds and to think new thoughts. In doing so, we rediscover new territories of empathy that become visible when visiting these spaces of encounter, where we learn that we can host otherness as part of the self. Where comradeship is a means instead of an end. Books create the spaces in which to play hopscotch together again."
ethelbaraonapohl  césarreyesnájera  books  reading  howweread  howwewrite  rayuela  2019  neilgaiman  fiction  space  performance  etienneturpin  derive  collections  libraries  raybradbury  connectivity  interrelation  hypertext  athenaathanasiou  architecture  protest  biblioburro  nomads  nomadism  nomadic  ows  occupywallstreet  conversation  neighborhoods  urban  urbanism  cities  istanbul  geziprk  erdemgunduz  taksimsquare  georgesdidi-huberman  comradeship  solidarity  empathy  writing  visibility  hopscotch  juliocortázar  anna-sophiespringer  dérive 
january 2019 by robertogreco
Eva Weinmayr — Essay: Library Underground — a reading list for a coming community (Sternberg Press)
"What does it mean to publish today? In the face of a changing media landscape, institutional upheavals, and discursive shifts in the legal, artistic, and political fields, concepts of ownership, authorship, work, accessibility, and publicity are being renegotiated. The field of publishing not only stands at the intersection of these developments but is also introducing new ruptures. How the traditional publishing framework has been cast adrift, and which opportunities are surfacing in its stead, is discussed here by artists, publishers, and scholars through the examination of recent publishing concepts emerging from the experimental literature and art scene, where publishing is often part of an encompassing artistic practice. The number and diversity of projects among the artists, writers, and publishers concerned with these matters show that it is time to move the question of publishing from the margin to the center of aesthetic and academic discourse.

Texts by Hannes Bajohr, Paul Benzon, K. Antranik Cassem, Bernhard Cella, Annette Gilbert, Hanna Kuusela, Antoine Lefebvre, Matt Longabucco, Alessandro Ludovico, Lucas W. Melkane, Anne Moeglin-Delcroix, Aurélie Noury, Valentina Parisi, Michalis Pichler, Anna-Sophie Springer, Alexander Starre, Nick Thurston, Rachel Valinsky, Eva Weinmayr, Vadim Zakharov.

Design by Studio Pandan | Pia Christmann & Ann Richter"

[direct link to .pdf: http://evaweinmayr.com/wp-content/uploads/Eva-Weinmayr-Library-Underground-Sternberg.pdf ]

[via: https://www.are.na/block/1029270 ]
community  libraries  unschooling  deschooling  resistance  communities  books  publishing  institutions  subversion  access  accessibility  2016  ownership  capitalism  evaweinmayr  hannesbajohr  paulbenzon  kantranikcassem  bernhardcella  annettegilbert  hannakuusela  antoinelefebvre  mattlongabucco  alessandroludovico  lucasmelkane  annemoeglin-delcroix  aurélienoury  valentinaparisi  michalispichler  anna-sophiespringer  alexanderstarre  nickthurston  rachelvalinsky  vadimzakharov 
may 2018 by robertogreco
Fantasies of the Library | The MIT Press
"Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas--as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others.

The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.”

Contributors
Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska"
books  toread  libraries  future  bookfuturism  anna-sophiespringer  etienneturpin  erinkissane  hammadnasar  meganshawprelinger  rickprelinger  charlesstankievech  katharinatauer  andrewnormanwilson  joannazylinska  print  prelingerlibrary  curation  opensource  ebooks  kaderatta  wafaabilal  markdion  rodneygraham  katiepaterson  veronikaspierenburg  2016 
november 2016 by robertogreco
K. Verlag | Press / Books / THE SUBJECTIVE OBJECT
"THE SUBJECTIVE OBJECT

The Subjective Object engages with the controversial site of the ethnographic museum and the role of the archive. In particular, the 1920’s photographic archive of the indigenous people of India by the German physical anthropologist and racist theorist Egon von Eickstedt (1892–1965) serves as a case study for an investigation into the role of historical artifacts in light of contemporary political situations. The nine interviews with curators, artists, anthropologists, and social workers provide the core of the book actively discussing the complicated issues around the archive’s function in producing know- ledge. An annotated thread of images serves as a critical apparatus addressing the visual history of ethnographic display and classification practices—both in the scientific field as well as the cultural field at large. Questioning the assumption that the archive presents the “fact” of the “Other,” three literary texts counterpoint the inherent fantasies within scientific research. Just as the book begins with an archive—the Eickstedt photos—the book ends with a new archive—photos of the exhibition The Subjective Object – (Re)Appropriating Anthropological Images at the GRASSI Ethnographic Museum of Leipzig—illustrating the project’s desire to not only engage with the history of display but also to propose a future of display strategies and social engagement.

Interviews with: Carola Krebs, Meghnath, Theo Rathgeber, Nora Sternfeld, Alexandra Karentzos, Christopher Pinney, Philip Scheffner, Britta Lange, Jesko Fezer + Raqs Media Collective

Literary Texts by: Franz Kafka, Brion Gysin + Suzan-Lori Parks

 

Published on the occasion of the exhibition:
The Subjective Object – Von der (Wieder-)Aneignung anthropologischer Bilder, GRASSI Museum für Völkerkunde zu Leipzig.

Curated by: Nicola Beißner, Anna Dobrucki, Anna Jehle, Julia Kurz, Anja Lückenkemper, Barbara Mahlknecht, Katja Thekla Meyer, Ksenija Orelj, Katharina Schniebs, Nefeli Skarmea, Anna-Sophie Springer, Edda Wilde und Olga Wostrezowa.

A project of "Kulturen des Kuratorischen" an der Hochschule für Grafik und Buchkunst, Leipzig 

 

Edited by Anna-Sophie Springer

142 Pages (Bilingual Deutsch/English)
Color + black/white images
ISBN: 978-0-9877949-1-8

Retail Price 10 € (out of print)"
books  anna-sophiespringer  ethnography  anthropology  egonvoneickstedt  museusm  objects  carolakrebs  meghnath  theorathgeber  norasternfeld  alexandrakarentzos  christopherpinney  philipscheffner  brittalange  jeskofezer  raqsmediacollective  kafka  vriongysin  suzan-loriparks  thesubjectiveobject 
march 2015 by robertogreco
K. Verlag | Press / Books / . 1 Fantasies of the Library
"… is a sequence of pages wherein the reader-as-exhibition-viewer learns, rather surprisingly—but with growing conviction—that the library is not only a curatorial space, but that its bibliological imaginary is also a fertile territory for the exploration of paginated affairs in the Anthropocene. 

Fantasies of the Library inaugurates the intercalations: paginated exhibition series. Virtually stacked alongside Anna-Sophie Springer’s feature essay "Melancholies of the Paginated Mind" about unorthodox responses to the institutional ordering principles of book collections, the volume includes an interview with Rick Prelinger and Megan Shaw Prelinger of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive by Hammad Nasar, Head of Research and Programmes at the Asia Art Archive, Hong Kong; a conversation with media theorist Joanna Zylinska about experiments on the intersections of curatorial practice and open source e-books; and a discussion between K’s co-director Charles Stankievech and platform developer Adam Hyde on new approaches to open source publishing in science and academia. The photo essay, “Reading Rooms Reading Machines,” presents views of unusual historical libraries next to works by artists such as Kader Attia, Andrew Beccone, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, Andrew Norman Wilson, and others.

Edited by Anna-Sophie Springer & Etienne Turpin

Design by Katharina Tauer

Paperback, thread-bound, 160 pages

30 color + 15 black/white images

ISBN 978-0-9939074-0-1 15.99 €

Co-published by K. Verlag and the Haus der Kulturen der Welt, Berlin

Made possible by the Schering Stiftung

Order the book via info@k-verlag.com

+ + 6 for 4: The intercalations box set subscription offer! + +

.

Published in January 2015"
books  toread  2015  anthropocene  anna-sophiespringer  collections  libraries  prelingerlibrary  meganshawprelinger  hammadnasar  rickprelinger  opensource  publishing  ebooks  charlesstankievech  adamhyde  kaderattia  andrewbeccone  markdion  rodneygraham  katiepaterson  veronikaspierenburg  andrewnormanwilson  etienneturpin  kverlag  katharinatauer 
march 2015 by robertogreco
K. Verlag | Press / Books / . 2 Land & Animal & Nonanimal
" … is an ensemble which contends that the meaning of the Anthropocene is less a geological re-formation than it is trans-formation of both land and animal; once exposed to some of the parameters defining this transition, the reader-as-exhibition-viewer may begin to discern erratic rhythms generated by the creatures of nonconformity that inhabit, with their violence, struggles, and love the vast, machinic reality called Earth.

Land & Animal & Nonanimal turns the attention from the built space of cultural repositories to the postnatural landscapes of planet Earth. In his interview about urban soils of the Anthropocene, landscape architect Seth Denizen considers a history of land use practices that is also reflected in artist Robert Zhao Renhui’s photographs of Singapore as a scenario of continuous development. Inspired by a recent visit to the environment of Wendover in the Utah desert, Richard Pell and Lauren Allen of Pittsburgh’s Center for PostNatural History make a case for a postnatural imprint upon the geologic aspects inherent in the concept of the Anthropocene. By encountering "the last snail," environmental historian and philosopher Thom van Dooren considers the meaning of hope and care in the context of species extinction. And while curator Natasha Ginwala’s paginated series with contributions by Bianca Baldi, Arvo Leo, Axel Staschnoy, and Karthik Pandian & Andros Zins-Browne turns to cosmological and ancestral human-animal scenarios, sound artist and researcher Mitchell Akiyama explores philosophies of consciousness against the background of the phonogram in nineteenth-century simian research.

.

Co-edited by Anna-Sophie Springer & Etienne Turpin

Design by Katharina Tauer

Paperback, thread-bound, 160 pages

13 color + 39 black/white images

ISBN 978-0-9939074-1-8 15.99 €

Co-published by K. Verlag and the Haus der Kulturen der Welt, Berlin

Made possible by the Schering Stiftung

Order the book via info@k-verlag.com

+ + 6 for 4: The intercalations box set subscription offer! + +

.

Published in January 2015"
anthropocene  books  toread  animals  multispecies  transformation  land  landscape  earth  postnaturalhistory  postnatural  sethdenizen  robertzhaorenhui  richardpell  laurenallen  thomvandooren  natashaginwala  biancabaldi  arvoleo  axelstaschnov  karthikpandian  androszins-browne  mitchellakiyama  consciousness  human-animalrelationships  human-animalrelations  geology  centerforpostnaturalhistory  nonconformity  kverlag  katharinatauer  anna-sophiespringer  etienneturpin  posthumanism 
march 2015 by robertogreco

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