[004]
Multidimensional citation
Collective
speculative
At the start of 2020 we announced our collaboration by sending around a postcard. Three women in stone-colored clothing sat on the ground, our faces staring directly into the camera in a diagonal cascade. The postcard also contained a link to our website where we described ourselves and our collaboration.
Our differences allowed us to come together in a complementary way. An alliance of islands intuitively felt like our symbol: and for this reason we used three dots cascading ⋱ for our website’s favicon — the small icon that appears near the web browser’s address bar.
“A citation should not be singular, but instead explicitly connected to the lineage of research that came before it.”
22.11.24
[019]
Syntax Magazine
Collaboration
experimental
Syntax is an online magazine using the grammar of the internet. The editors letter of Syntax's first edition reads:
"Digital media promised us new modes of reading. Instead, we got sound bites and “which One Direction member should you date” quizzes. Scrolling online became an experiment in self-defense: we’re bombarded by paywalls and pop-up ads, lured by A/B tested headlines and microtrend pieces. [...]
But no one writes how we read. In chat rooms, comment sections, forums, personal blogs. The video essay, the playlist, Tumblr collage—these forms are as familiar to us as the novel, film, and album. Their words would never reach the true citizens of the internet.."
And so, Syntax provides a honest reflection of what pre-capitalist internet.
“So we go back to the blog. Repurpose the zine. We’re sending our reply using the grammar of the internet.”
22.11.24
[039]
The SSENSE of Authenticity
Individual
critical
In "the ssense of authenticity" writer Nabi Williams explores the concept of authenticity in the digital age, particularly through analyzing the canadian fashion e-tailer ssense and its popular Instagram account. posting daily on the social media platform, ssense draws from contemporary culture through its use of language, image layout, and cultural references to create promotional content that exists on the thin line between “authentic meme” and marketing material. by investigating this account and social media’s impact on how authenticity is manufactured, communicated, and perceived, this thesis traces how the concept of authenticity has evolved and argues that we now live in a “post-authentic” world, where storytelling and the “authentically inauthentic” reign supreme in place of sincerity and reality.
“The reality is that “authenticity” holds no value. But then again, who wants to engage in reality?”
22.11.24
[040]
Scroll, Skim, Stare
Individual
critical
This essay critiques the static nature of artists' websites, proposing that they could be more dynamic and innovative. Gat argues for these sites to function as online exhibition spaces, offering unique and creative ways to present and control art, enhancing the digital art experience.
Orit Gat’s essay “Scroll, Skim, Stare” in *The White Review* explores the evolving role of artists' websites in the contemporary digital landscape. Gat argues that while the internet has transformed art consumption, the design of artists' websites often remains static and uninspired. She suggests that these sites could be more dynamic, serving as online exhibition spaces that challenge the traditional gallery format. Gat emphasizes the potential for artists to leverage their websites to present and control their work uniquely and creatively, thus reshaping the visual culture of the internet.
22.11.24
[042]
From a Tool to a Culture : Authorship and Professionalism of Fashion 4.0 Designers in Contemporary Digital Environments
Individual
This thesis looks at how fashion design is affected by new technology. It contributes to fashion studies and design research. It uses ideas from authorship theory, sociology of professions and posthumanism. The research looks at four fashion design practices where creation takes place in virtual spaces and is shared with non-professionals, networks or machines. The case studies are The Fabricant, Atacac, Self-Assembly and Minuju.
22.11.24
[059]
Autotheory as Feminist Practice in Art, Writing and Criticism
Individual
critical
In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.
Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing.
“Autotheory—the commingling of theory and philosophy with autobiography—as a mode of critical artistic practice indebted to feminist writing and activism.”
22.11.24
[065]
The Carrier Bag Theory of Fiction
Individual
critical
The Carrier Bag Theory of Fiction, proposed by Ursula K. Le Guin, suggests that storytelling is akin to a "carrier bag"—a container for diverse narratives rather than a linear progression of events. This theory emphasizes inclusivity and multiplicity in storytelling, advocating for narratives that encompass various voices and experiences rather than focusing solely on traditional heroic plots. By framing fiction as a space for collecting and sharing rather than imposing structure, Le Guin encourages a more holistic understanding of literature's role in shaping human experience.
While acclaimed for its radical rethinking of narrative structures, challenging traditional linear storytelling and instead presenting fiction as a collection of diverse, interconnected experiences, Le Guin's perspective is primarily driven by the importance of inclusivity and multiplicity of voices. It considers how narratives can be used to facilitate understanding of complex human experiences, rather than merely serving as vehicles for plot-driven heroics. It takes special note on the act of 'gathering' and is therefore often referred to by collectives and practitioners that focus on gathering tools, people, experiences and non-conformist ways of doing. By advocating this more holistic, and more inclusive approach to storytelling, Le Guin critiques dominant cultural narratives and opens up space for alternative forms of expression.
“A story is like a carrier bag; it holds the experience of many people, not just one.”
22.11.24