I propose that we begin to commission people to write texts. I believe that if people contribute something to the publication then we should be obliged to publish it.
But to deal with flow of information I propose that we have an online expanded version of the publication that has everything - but the physical publication we are able to assemble articles and material that works for this purpose only.
For example I had a conversation with Ivana Ivkovic, one of the editors of Frakcija and Bad Co. in Zagreb last night. She said that she was writing something about Trisha Brown's Walking Down a Wall and offered to contribute something for the publication. Great no? This text will err on the academic side no doubt. But gathering information which will inform decisions is good isn't it?
Friday, July 10, 2009
design - conventional or not?
Do we go conventional with the format or experimental?
Convention does one important thing, it means that people who are conventional will be fooled into reading it. But a contemporary dance crossword is pretty whack don't you think? So the content could be the craziness within the most conventional frame.
I also have the feeling that as our design skills are limited, attaining absolute convention will be difficult.
Convention does one important thing, it means that people who are conventional will be fooled into reading it. But a contemporary dance crossword is pretty whack don't you think? So the content could be the craziness within the most conventional frame.
I also have the feeling that as our design skills are limited, attaining absolute convention will be difficult.
Thursday, July 9, 2009
PDF sent to editorial team from jessyka
Topics to investigate
• Examine different definitions/instances of choreography and performance – which ones suck and which ones kick ass. Opportunity here to create a way of speaking about them, and utilise the opportunity of the highly conventional format of the newspaper to explore them.
• Politics of dance and performance.
• Architecture of dance and performance, what spaces does dance/choreography inhabit and what relationships/politics are produced?
• The creation of a different (or ideal) culture surrounding dance? Utopia.
• Institutional changes, what role do institutions play in dance and performance at the moment?
• What role does self-organisation play in dance at the moment? What role could it play?
• Proposal for a new type of festival.
• Investigating succinct modes of written material about dance and performance.
• Create a publication that has different influences and criteria for writing about dance – commercial, visual arts, philosophy, fashion, design, architecture, music, corporate world, marketing, technology, economy
• Create a publication that takes different elements from existing and conventional publications.
• Ways to use new technologies to create written material about dance and the festival
• Ways to use new technologies to interact with potential readers and participants in festival
• Define our relationship with Impulstanz; we are uninvited. How does this enable us to act and write differently?
• Manifesto’s – do we feel the need for them? If so, about what? And what effect could this produce? Is there a place in this project to elicit others to write them?
• How to elevate the participants in the jazz dance workshops above the existing big name dominating individuals. Forcing them to sharpen their arguments for dance and performance, bringing up the competition of the field. Investigating in and out, without overtly talking about it.
• How to create a new community as opposed to reinforcing the existing.
• How does this publication lie in the history of publications?
• What does it mean to be impolite? And be responsibly irresponsible and unsupportive.
• How can we explore freedom of speech in this highly produced environment? During a festival such as Impulstanz, and in other dance environments, the behaviour is highly regulated. Participants obey invisible rules (or codes) that are defined by non-practitioners i.e. festival organisers.
• Professional, unprofessional, what is the profession?
• Obedience, articulation, accessibility. Are they connected.
• Mythology
• Ground zero – if there was no field, what could it look like? Post-war arts communities.
• How can this publication point towards/illuminate other factors/entities/interests which perhaps have more relevance/interest to us who are participants in the field.
• How can we involve INPEX and other practitioners to contribute? Through which frames can this communication take place to produce content that easily feeds into the publication?
Image/Visualisation
• What are the existing modes of visualisation for dance?
• How could dance and performance use images differently for marketing and publicity purposes
• What images can we create and promote? What can we say no to?
• What tools or interfaces can we use to collect and produce images to use?
Spaces to explore
• Workshop zone
• Lounge/party zone
• Lunch and eating zones
• Places to witness informal meetings
• Foyer and post performance zones
• Transport zones (trams)
Distribution strategies
• Who should do it?
• Where should it be distributed?
• Should a protocol be developed for this?
Topics to research
• Art publications
• Interview techniques
• Design opportunities
• Daily scheduling and distribution of activities
Technical elements
• Potential for alternate online as well as paper publication
• Interaction via FB
• Advertising
Name
• Dude
• The Inpex
oh vienna - publications and beyond
Hey Emma, Egle, Louise, Halla and Will
What a team. Fully sick sub woofer.
At this point in time it I always find it difficult to not kill the vibe with an over the top analysis or overly ‘corporate’ proposals. So you will find attached a pdf with some bullet points. But I am not so subtle with word processing and formatting so it will just have to do. (I find DIY Corporate aesthetic very humorous by the way.) Just so you know, I have an overwhelming feeling that my ideas are a bit lame and are limited to my way of thinking which is a direct result of the experiences I have had and my personality. I am sending this pdf to everyone, for two purposes. 1, so you know how/what I have been thinking (and also this document is summarising many discussions I have had with other INPEX ppl) 2, but more as an offer for you to bring what ever you want in to the project. I think it is beneficial to have something from which to orientate, and I am looking forward to these things here being overwhelmingly panned and elaborated.
So this is the point that I come from. The feeling that what I write is one thing, but that the potential is so much more, and collectively we will be able to find a tone/content/reference points that somehow open up new territories and possibilities for shaping this ‘field’ into something substantially more kick ass. (When I say 'field' I think it is ok that this can mean something different to everyone involved.) I have read a lot more Cosmopolitan and than Deleuze, but I don't think that should exclude me from articulating some sort of written information about the 'field'. Which is the fun and open aspect of this format, that we have room to move when it comes to defining format/mode/design etc. I think my interests and my knowledge are totally wicked, but finding connections between mine and yours is something beneficial to you, to me and the rest of the world. At the root of my desire to do this is to find a new way to have a kick ass time and work, and that it is not studio based performance investigations, but it is a situation where we can all get a lot out of in relation to our individual practices. I do have expectations that this will be very clever, but I also have hopes that it will be so bad that people will not be able to help themselves to talk about it, and it’s so bad because we pushed it really freakin' far.
Also it has excellent opportunity for INPEX to gain some serious international exposure, so we can be marketingwise as shameless as possible.
So on a serious/fun and ridiculous/bad and activist/contemporary note I request the following information from all:
1. Do we want to work in Stockholm before hand or another city? Berlin for example. I think two days will be sufficient - on the 4 and 5 August.
2. Flights. If we work with the dates to arrive Stockholm/Berlin to start work on the 4th where will you be arriving from? And then on the 15th but preferably the 16th where will you be flying to? INPEX will cover these flights. But to keep costs down we should book them soon. I think it will be easiest if you do the research and find the cheapest most convenient flights. I will find the flight for us all to Vienna from wherever we decide to work.
3. Do you have connections in Vienna? I have asked Kroot if we can have her flat, but another space may be good to have as well. So we have separate living/working quarters.
Of course it is an option too that we work the preparation time in Vienna. But I am partial to arriving and then just getting into the publication immediately.
We have to have a Swedish Dance History book release party too. Fun.
This project is happening. I am going on 'vacation' for a week and will have limited web access from Sunday onwards so if you can send me some info before then in response to this mail then that would be nice.
I know circular emails are quite intensive, but it would be great if we all could have an idea of each others positioning and desires for this project. So cc everyone in.
YEAH
jess
ps. This project is a rip off of this project... http://www.theincidental.org
So check it out if you haven't already.
Jessyka Watson-Galbraith
+46 (0) 735 46 56 38
What a team. Fully sick sub woofer.
At this point in time it I always find it difficult to not kill the vibe with an over the top analysis or overly ‘corporate’ proposals. So you will find attached a pdf with some bullet points. But I am not so subtle with word processing and formatting so it will just have to do. (I find DIY Corporate aesthetic very humorous by the way.) Just so you know, I have an overwhelming feeling that my ideas are a bit lame and are limited to my way of thinking which is a direct result of the experiences I have had and my personality. I am sending this pdf to everyone, for two purposes. 1, so you know how/what I have been thinking (and also this document is summarising many discussions I have had with other INPEX ppl) 2, but more as an offer for you to bring what ever you want in to the project. I think it is beneficial to have something from which to orientate, and I am looking forward to these things here being overwhelmingly panned and elaborated.
So this is the point that I come from. The feeling that what I write is one thing, but that the potential is so much more, and collectively we will be able to find a tone/content/reference points that somehow open up new territories and possibilities for shaping this ‘field’ into something substantially more kick ass. (When I say 'field' I think it is ok that this can mean something different to everyone involved.) I have read a lot more Cosmopolitan and than Deleuze, but I don't think that should exclude me from articulating some sort of written information about the 'field'. Which is the fun and open aspect of this format, that we have room to move when it comes to defining format/mode/design etc. I think my interests and my knowledge are totally wicked, but finding connections between mine and yours is something beneficial to you, to me and the rest of the world. At the root of my desire to do this is to find a new way to have a kick ass time and work, and that it is not studio based performance investigations, but it is a situation where we can all get a lot out of in relation to our individual practices. I do have expectations that this will be very clever, but I also have hopes that it will be so bad that people will not be able to help themselves to talk about it, and it’s so bad because we pushed it really freakin' far.
Also it has excellent opportunity for INPEX to gain some serious international exposure, so we can be marketingwise as shameless as possible.
So on a serious/fun and ridiculous/bad and activist/contemporary note I request the following information from all:
1. Do we want to work in Stockholm before hand or another city? Berlin for example. I think two days will be sufficient - on the 4 and 5 August.
2. Flights. If we work with the dates to arrive Stockholm/Berlin to start work on the 4th where will you be arriving from? And then on the 15th but preferably the 16th where will you be flying to? INPEX will cover these flights. But to keep costs down we should book them soon. I think it will be easiest if you do the research and find the cheapest most convenient flights. I will find the flight for us all to Vienna from wherever we decide to work.
3. Do you have connections in Vienna? I have asked Kroot if we can have her flat, but another space may be good to have as well. So we have separate living/working quarters.
Of course it is an option too that we work the preparation time in Vienna. But I am partial to arriving and then just getting into the publication immediately.
We have to have a Swedish Dance History book release party too. Fun.
This project is happening. I am going on 'vacation' for a week and will have limited web access from Sunday onwards so if you can send me some info before then in response to this mail then that would be nice.
I know circular emails are quite intensive, but it would be great if we all could have an idea of each others positioning and desires for this project. So cc everyone in.
YEAH
jess
ps. This project is a rip off of this project... http://www.theincidental.org
So check it out if you haven't already.
+46 (0) 735 46 56 38
invitation to participate
Dear all
This email is a quick proposal for an INPEX project this summer. We spoke about it at the last INPEX meeting attended by Emma, Tor and myself, and I have mentioned it to a few people before.
During the last week of Impulstanz INPEX will set up a daily publication. The exact format to still to be debated thoroughly, but we have been thinking along the lines of 2 pages of A3, with the ‘feel’ of a newspaper. It will distributed over five consecutive days and will accumulate over the week, to create a magazine. We will print roughly 200 copies every day with the total circulation being 1000.
The purpose of the publication, which is importantly not invited or endorsed by Impulstanz, is not to critique Impulstanz and its performances, but celebrate ‘the festival’ and the activity going on inside it. The publication is to investigate and claim once again, a new mode and format of writing in a dance context, influenced by contemporary technologies and concerns by its makers. As an activity for INPEX, the international concentration that a festival such as Impulstanz provides is a great situation to firmly engage the priorities and objectives of INPEX, the main ones in this instance being: international attention to dance activity in a Swedish context and creating a dance culture of a different kind.
The schedule which we discussed at the meeting the other night is as follows:
Monday 03.08 - meet in Stockholm (for 3 days) to discuss format/content
Thursday 06.08 - travel to Vienna to prepare
Monday 10.08 - first publication released
Friday 14.08 - last publication distributed
The initial discussion time in Stockholm is vital, as we do not want to be discussing potential alternative formats when we could be producing content.
We will be in Vienna to focus on this project and the set-up is appropriately hard-core, which will not offer participation in the festival as one does traditionally.
INPEX will pay for flights, accommodation and living costs whilst in Vienna, plus the capital for the printing and distribution of the publication. I have investigated renting a large apartment for us all to live in, and at the moment, we will be working from this location as well.
So what do you say? Are you interested in being involved. Let me know asap, as it is imperative that the team is sorted, before we can continue making further arrangements.
Kind regards and summer love from Croatia
Jessyka
PS If anyone is heading to Gothenburg can they take books from konstnärsnämden with them? Talk to me more if you are. Actually that goes for anywhere. Take books, they are a smash hit and people want want want and it's a lovely experience, as you may know already to see the glint in people's eye when they see the silver cover and then... even more importantly when they see what's inside.
Jessyka Watson-Galbraith
+46 (0) 735 46 56 38
This email is a quick proposal for an INPEX project this summer. We spoke about it at the last INPEX meeting attended by Emma, Tor and myself, and I have mentioned it to a few people before.
During the last week of Impulstanz INPEX will set up a daily publication. The exact format to still to be debated thoroughly, but we have been thinking along the lines of 2 pages of A3, with the ‘feel’ of a newspaper. It will distributed over five consecutive days and will accumulate over the week, to create a magazine. We will print roughly 200 copies every day with the total circulation being 1000.
The purpose of the publication, which is importantly not invited or endorsed by Impulstanz, is not to critique Impulstanz and its performances, but celebrate ‘the festival’ and the activity going on inside it. The publication is to investigate and claim once again, a new mode and format of writing in a dance context, influenced by contemporary technologies and concerns by its makers. As an activity for INPEX, the international concentration that a festival such as Impulstanz provides is a great situation to firmly engage the priorities and objectives of INPEX, the main ones in this instance being: international attention to dance activity in a Swedish context and creating a dance culture of a different kind.
The schedule which we discussed at the meeting the other night is as follows:
Monday 03.08 - meet in Stockholm (for 3 days) to discuss format/content
Thursday 06.08 - travel to Vienna to prepare
Monday 10.08 - first publication released
Friday 14.08 - last publication distributed
The initial discussion time in Stockholm is vital, as we do not want to be discussing potential alternative formats when we could be producing content.
We will be in Vienna to focus on this project and the set-up is appropriately hard-core, which will not offer participation in the festival as one does traditionally.
INPEX will pay for flights, accommodation and living costs whilst in Vienna, plus the capital for the printing and distribution of the publication. I have investigated renting a large apartment for us all to live in, and at the moment, we will be working from this location as well.
So what do you say? Are you interested in being involved. Let me know asap, as it is imperative that the team is sorted, before we can continue making further arrangements.
Kind regards and summer love from Croatia
Jessyka
PS If anyone is heading to Gothenburg can they take books from konstnärsnämden with them? Talk to me more if you are. Actually that goes for anywhere. Take books, they are a smash hit and people want want want and it's a lovely experience, as you may know already to see the glint in people's eye when they see the silver cover and then... even more importantly when they see what's inside.
+46 (0) 735 46 56 38
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