Thursday
Dec132018

Why the Radical Open Access Collective is Not Taking Part in Scholastica's 'Academic-Led Publishing Day'

Members of the Radical Open Access Collective (ROAC) recently received an email from Scholastica, asking whether we as a collective would like to take part in an 'Academic-Led Publishing Day' they are initiating. Having discussed this informally with several of our members, we have decided not to take part in this day as a collective. The reasons for this decision are outlined in the response to Scholastic's invitation below (drafted by Janneke Adema and Samuel Moore). We do not want to speak on behalf of individual members in this matter, though, so if anyone in the ROAC is interested in taking part individually they can of course do so. 

 

Dear Danielle (who was writing to us on behalf of Scholastica),

Thank you for your invitation to take part in 'Academic-Led Publishing Day'. There are various reasons why, from a radical open access perspective, we would refuse to be involved in such a day. Let us set out some of these reasons.

First of all we feel the name of your proposed event is problematic. None of the organisations mentioned in your invitation - Library Publishing Coalition, Michigan Publishing, Ubiquity Press, the University of California Press - are academic-led (or scholar-led if you prefer that term). The exception is Ubiquity Press, which is however operating predominantly as a commercial service and infrastructure provider. Looking at the organisations you list this seems very much an 'academy-led' event, and we suggest you perhaps change the name accordingly (i.e. to 'Academy-Led Publishing Day'). 

We feel words are important here; and all the more so given a true 'Academic-Led Publishing Day' would indeed be one that is initiated, organised and 'owned' by academic-led publishing initiatives themselves, rather than commercial service providers such as Scholastica.

The Radical Open Access Collective promotes community ownership of research (as you say you do). The difference is that for us this includes ownership and custodianship of open publishing infrastructures. To this end we have set up an information portal which lists open source publishing software and platforms as open and non-commercial alternatives to the services that Scholastica and Ubiquity provide. We feel taking part in an  'Academic-Led Publishing Day'—which we would like to emphasise is not actually academic-led at all but initiated by Scholastica, a for-profit intermediary—would, as it is currently conceived, be to indirectly promote the commercial services you provide. We acknowledge some presses may choose to use Scholastica's services and benefit from them. As a collective, however, we aim to promote and seek alliances with non-profit and open alternatives instead. 

We would very much like to support an 'Academic-Led Publishing Day', if it were indeed initiated from the bottom-up by scholar-led publishing initiatives, and we very much support those not-for-profit organisations that are taking part in this event. We also don’t want to speak for individual members of the Radical Open Access Collective, and would not wish to discourage them from taking part in this event if that is what they want to do. (We will forward your invitation to our mailing list.) Still, as a collective, we choose to pass on this one. We hope you understand.

 

Friday
Dec072018

Ways of Following: Art, Materiality, Collaboration by Katve-Kaisa Kontturi

Open Humanities Press is pleased to announce the new book in its Immediations series: Katve-Kaisa Kontturi's Ways of Following: Art, Materiality, Collaboration.

In Ways of Following, Katve-Kaisa Kontturi offers rare, intimate access to artists’ studios and exhibitions, where art processes thrive in their material-relational becoming. The book argues for an ethical and affirmative mode of engaging with contemporary art that replaces critical distance with sensuous and transformative proximity. From writing-with to dancing and breathing, from conversations to modelling, it maps ways of following that make the moving materiality of art intensively felt. Drawing on long-term engagements with selected contemporary artists and their art-in-process, Kontturi expands the concept and practice of collaboration from human interactions to working with, and between, materials. With this shift, Ways of Following radically rethinks such core tenets of art theory as intention, artistic influences and the autonomy of art, bringing new urgency to the work of art and its political capacity to propose new ways of being and thinking.

 

 

 

Friday
Nov232018

Executing Practices: New Book in OHP's DATA browser series

The DATA browser book series, together with OHP, is delighted to announce the publication of Executing Practices. This collection brings together artists, curators, programmers, theorists and heavy internet users, all of whose practices make a critical intervention into the broad concept of execution. 

DATA browser 06
EXECUTING PRACTICES 

Edited by Helen Pritchard, Eric Snodgrass & Magda Tyżlik-Carver
Published by Open Humanities Press
CC 2018 (Creative Commons Attribution By Attribution Share Alike License)
310 pages

Download as FREE PDF (colour)
http://www.data-browser.net/pdf/DB06_Executing_Practices.pdf
Download as FREE eBook (colour)
http://www.data-browser.net/pdf/DB06_Executing_Practices.epub

Outline:

This collection brings together artists, curators, programmers, theorists and heavy internet browsers whose practices make critical intervention into the broad concept of execution. It draws attention to their political strategies, asking: who and what is involved with those practices, and for whom or what are these practices performed, and how? From the contestable politics of emoji modifier mechanisms and micro-temporalities of computational processes to genomic exploitation and the curating of digital content, the chapters account for gendered, racialised, spatial, violent, erotic, artistic and other embedded forms of execution. Together they highlight a range of ways in which execution emerges and how it participates within networked forms of liveliness.

Contents:

Executing Practices
Helen Pritchard, Eric Snodgrass, Magdalena Tyżlik-Carver

Preface: Time of Execution
Yuk Hui

Modifying the Universal
Roel Roscam Abbing, Peggy Pierrot, Femke Snelting

RuntimeException()
Geoff Cox

On Commands and Executions
David Gauthier

Deadly Algorithms
Susan Schuppli

Executing Micro-Temporality
Winnie Soon

Spinning Wheel of Life
Winnie Soon

Synchronizing Uncertainty
Brian House

Loading... 800% Slower
David Gauthier

Bugs in the War Room
Linda Hilfling Ritasdatter

Erasure
Audrey Samson

Posthuman Curating and its Biopolitical Executions
Magda Tyżlik-Carver

Ghost Factory
Magda Tyżlik-Carver & Andy Prior

Bataille's Bicycle
Marie Louise Juul Søndergaard & Kasper Hedegård Shiølin

The Chance Execution
Olle Essvik

What is Executing Here?
Eric Snodgrass

Critter Compiler
Helen Pritchard

Shrimping Under Working Conditions
Francisco Gallardo & Audrey Samson

Afterword: Reverse Executions in the Internet of Things
Jennifer Gabrys

Produced with support from Aarhus University and Liverpool John Moores University.

 

Thursday
Oct182018

Übercapitalism and What Can Be Done About It

'Übercapitalism and What Can Be Done About It' is my contribution to The University Is Ours: How To Build An Activist Union Branch, a handbook for activists put together by Des Freedman and Susan Kelly for the UCU Branch Solidarity Network, and published in October 2018. The whole handbook can be downloaded for free here.

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We live in an increasingly übercapitalist society. It’s übercapitalist in that a specific version of neoliberalism, characterised by low pay, zero-hours and fixed-term contracts, is growing ever more aggressive (the prefix ‘über’ means ‘irresistible’, ‘higher’, ‘more powerful’); and that the disruptive technology firm Uber offers one of the most high-profile examples of this intensified form of deregulated capitalism in which work is becoming low in quality but high in risk and stress.

As recent court judgements against Uber and Pimlico Plumbers demonstrate, precarious workers are still able to fight for better conditions and win, no matter how irresistible these companies may seem. Yet the struggle against übercapitalism is not only a matter of returning to workers the employment rights they have lost as a result of outsourcing and casualisation. Just as business is innovating so we need to invent new strains of unionisation. 

The university is a particularly appropriate place to experiment with new techniques for organising labour. It was in the university, after all, that the artistic/entrepreneurial way of life that’s such a prominent feature of digital capitalism, with its emphasis on autonomy, self-management and the blurring of the distinction between work and play, was itself first developed. (Both Facebook and Google have their origins in the university, for instance.)

So how do we develop new forms of solidarity and collective bargaining in the context of übercapitalism? Union branch activists could begin by campaigning for all those working in the university, including students, to retain control of the knowledge and data they generate by placing it under a Peer Production License (PPL) or something similar. Such a licence would function to create a common stock of non-privately owned information that everyone in the institution would collectively manage, share, and be free to access and use on the same equal basis. For instance, it would allow universities as communities to decide that any for-profit business wishing to privatize and commodify their research and the related data must pay a fair price for it (rather than getting it cheaply or indeed for free as is frequently the case now), while also ensuring it remains openly available for use in the non-profit public sphere. 

Such an approach would make the academy far less vulnerable to disruption at the hands of any future HE equivalent of Uber. Adopted across the sector, it would enable universities to disrupt privately owned companies such as Elsevier and Academia.edu that have a business model resting on their ability to parasitically trade off publicly funded education and labour. 

Better working conditions could also be put into practice. Because any data would be collectively owned and governed, the rights of workers and students regarding such data could be protected – and discriminatory behaviours guarded against. Anything coming even close to the performance monitoring, surveillance and behavioural control of an übercapitalist outfit such as Amazon could be rejected. 

Most importantly, such a collaborative, commons-based approach to organising university labour would differ significantly from the hierarchical, top-down, wealth-concentrating ownership and management structure of most übercapitalist firms. The latter take great care to separate their for-profit business from the workers and users who generate it. In the former, however, those who do the work and generate the value – academics, researchers, students, librarians, technicians, managers, administrators, cleaners, caterers, security staff – would also own and control the knowledge and data on which the ‘business’ is built.

The university would then truly be ours.

 

Monday
Oct012018

Do We Need To Publish Fewer Texts By People From A Privately Educated Background? Five recommended readings for the This Is Not A Pipe podcast

Just over a week ago, I was interviewed by Chris Richardson for This Is Not A Pipe, a series of podcasts addressing issues in critical theory, cultural studies and philosophy. The episode, in which Chris and I discuss Pirate Philosophy, among other things, should be available online shortly. In the meantime, here is my response to the request Chris makes to each of his interviewees to provide 5 recommended readings to include on the website alongside the episode of the podcast in which they appear.  

 

Aldo Manuzio: Renaissance in Venice, edited by Guido Beltramini and Davide Gasparotto (Venice: Marsilio, 2016)

This is the catalogue of an exhibition held in Venice in 2016, five hundred years after the death of the scholar and publisher Aldo Manuzio. Recognized as the inventor of the modern book,  Manuzio’s edition of Hypnerotomachia Poliphili, originally published in 1499, has been called the most beautiful volume ever printed. I don’t want to get into a beauty contest, but it’s definitely worth seeing if you ever get the chance. Gutenberg may have been the first to use the printing press and movable type in Europe, but it was Manuzio’s innovations in publishing that made print-on-paper books small and portable enough for individuals to read as part of their everyday lives.  His invention of a new material form for the book in 1501 - clear layout, readable italic typeface, pocket-sized in the octavo format, making his volumes easy to hold with one hand - thus helped to create a reading public and, with it, the public sphere.  It also paved the way for Cervantes’ invention, with the publication of the first volume of Don Quixote in 1605, of a new form of writing, the novel, and with it the modern world and subjectivity. All of which raises the question: what are the implications for subjectivity of the emergence, half a millennium later, of vast networked flows of information and data, of which projects such as This Is Not A Pipe and Media Gifts are of course a part?

 

Chantal Mouffe, Agonistics: Thinking the World Politically (London: Verso, 2013)

Staying with the question of subjectivity, I’m interested in the emphasis Mouffe places in this book (available to download for free if you look in the right places: see below), on the role artistic practices have to play when it comes to the production of new subjectivities – the latter being one of the objectives of counter-hegemonic struggle for her. That said, if art is one arena in which we can experiment with new identities and new agential practices, it seems to me critical theory is another: it just needs to be far less bourgeois and commercially-oriented than it is at present. To use her own political philosophy against itself, it’s a shame that Mouffe - in common with many other theorists today - doesn’t seem particularly interested in experimenting with her own subjectivity. Indeed, for all the importance she attaches to working collectively and agonistically with regard to the existing institutions, Mouffe’s theory remains quite conventional in its form and practice. Witness her insistence on writing singularly authored, long-form, codex print books that she then makes available for commercial exploitation by the for-profit press Verso an all rights reserved basis, in accordance with a system of property exchange that is governed by the logic of capital and its individualistic, competitive ethos. Mouffe may provide us with a powerful critique of liberalism in the content of her books. Yet as her upholding of common-sense notions of the sovereign human subject, the named proprietorial author, originality, immutability and copyright shows, she continues to adhere to a liberal humanist model of what it is to be an academic and theorist when it comes to how she actually creates, publishes and disseminates her radical political philosophy.

 

The Sales Rep Will Be Right Back: Are Not Books & Publications as Performative Publishing, or Notes on Productive Non-Documentation (Texas: Are Not Books & Publications, 2018)

What alternative ways of working should we be exploring if we want to subvert the existing configurations of power and develop new subjectivities and new ways of life? The Radical Open Access Collective offers numerous examples of how we can engage agonistically, as Mouffe would put it, with those liberal democratic institutions through which most people come into contact with our work - the university, the library and scholarly publishing industry - in order to transform them and their associated practices, with a view to creating a chain of equivalence with other levels of struggle as part of a broader left political strategy. However, I want to place the emphasis here on a project I’m not associated with. So I’m recommending this volume from Are Not Books & Publications, a project that describes itself as both a publisher and an academic research program. The Sales Rep Will Be Right Back demonstrates how books can not only be descriptive but performative, right down to the level of the conferences and trade shows at which they’re exhibited… and given away, in the case of Are Not Books & Publications (which is how I came across them at the recent London Art Book Fair, held at the Whitechapel Gallery). When it comes to marketing their books, Are Not Books & Publications look to challenge the existing consensus by having as their goal ‘cultural transactions that are not based on competition, or the accumulation of capital’. Instead, they only care ‘about those who care’ and will take the time to seek them and their work out. Otherwise they prefer to ‘remain anonymous, and to acquire no reputation’. 

 

Tomislav Medak, Marcell Mars, Manar Zarroug, Paul Otlet, McKenzie Wark, Javna knjižnica/Public Library (Svibanj/Zagreb: Što, kako i za koga/What, How & for Whom, Multimedijalni institut/Multimedia Institute, 2015)

I would have like to have provided links to a multitude of ‘pirate’ or shadow libraries, such as aaaaarg.org, Monoskop and Library Genesis, as a means of offering further examples of projects that are not based on competition or the accumulation of capital. But perhaps I can compromise by choosing just one small book on the subject instead. Javna knjižnica/Public Library contains all the relevant information and urls. It’s published in a dual language edition (Croatian and English), and is freely available on an open access basis here. Marcell Mars and Tomislav Medak, the book’s two editors, themselves run a radical open access project of the same name: The Public Library. (Full disclosure: they’re also colleagues of mine in The Post Office postdigital arts and humanities research studio at Coventry University. Among other things, we’re working on reinventing the infrastructure of the city – including its public libraries - to produce a vision of the future that is less ‘smart’ and more multipolar and messy.)

 

 

Liberating the Canon: An Anthology of Innovative Literature, edited by Isabel Waidner (Manchester: Dostoyevsky Wannabe Experimental, 2018)

If art is one place critical theory can draw inspiration when it comes to the construction of new subjectivities, literature is another. Not so much the bourgeois novels of Jonathan Franzen and Karl Ove Knausgaard, perhaps; nor even the more experimental writing of Tom McCarthy and Will Self. In fact, in her introduction to Liberating the Canon (published with the non-profit Dostoyevsky Wannabe), Isabel Waidner stresses just how white, middle class and patriarchal most experimental literature is, certainly in the UK – very much to the exclusion of (non-Oxbridge) BAME, LGBTQI, working class, migrant and other nonconforming identities. This brings to mind a modest bid on the part of Cery Matthews to counter the stalling of social mobility in the UK. The BBC Radio 6 presenter recently announced that she wants to program less music on her show by artists who have been given a leg-up over others in society as a result of attending a private, fee-paying school, and more music by people from all walks of life, including women and those from working-class backgrounds. This makes me wonder: if we want to encourage the production of radical new subjectivities, do we need to adopt a similar stance with regard to literature and the arts? Critical theory and philosophy? Even the academy in general? 

Waidner’s introduction, ‘Liberating the Canon: Intersectionality and Innovation in Literature’, is available open access here.

If you don't already know This Is Not A Pipe, you should check it out. There are episodes with Shannon Mattern and Tony D. Sampson among others, with Marie-Laure Ryan and Nick Sousanis coming up.