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title = "Analogies and Axes"
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glassblowers = ["nickthurston.md"]
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The interests within this group overlap on different axes.
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In our conversations, the dominant axis is one of . We have discussed  between like-archives (most immediately, [Memory of the World](https://memoryoftheworld.org), [Monoskop](https://monoskop.org/Monoskop)) using the terms of digital culture and computational engineering to think practically about "the political". But my guess is that the politics of the people behind these like-seeming archives are probably quite varied, beyond sharing  (i.e., what if copyright didn't exist?).
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So, I want to think [UBUweb](https://ubu.com) on a different axis, in terms of remix culture and another cluster of like-minded archives, which UBUweb scaled-up among. [PennSound](https://writing.upenn.edu/pennsound/), the [Electronic Poetry Centre](https://writing.upenn.edu/epc/), and later the [Eclipse archive](http://eclipsearchive.org/) all try to sample and share — for educational use — the vernacular heritage of literary communities who self-identify with non-mainstream culture.
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Remixining has lots of histories. My guess is that lots of those histories were remixed in the conjuring of UBUweb, from New York's  of the 1980s to Aby Warburg's atlas of "", not to mention the  of  and [LANGUAGE poetry](https://writing.upenn.edu/library/Messerli-Douglas_Intro-LP_1987.html). My guess is that Kenneth loved/loves file-sharing; that he had/has lots of playlists. Certainly, he was/is [a great DJ](https://rwm.macba.cat/en/research/memorabilia-collecting-sounds-kenneth-goldsmith-part-ii).
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If  are one clear reference to a long history of modernism, another crucial reference sampled in the-remix-that-is-UBUweb is the 20th-century tradition of the "". Particularly its , and what Abraham Foley might call the "" therein.
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Here I want to invoke the brilliant work of [Danny Snelson](https://monoskop.org/Danny_Snelson), who formulated the concept of "" to talk analogously about exactly the cluster of like-minded archives I mention on this other, literary axis. Snelson uses the phrase to describe relatively small web collections (in data count and purview) that transcode cross-arts content (videos, text, docs, etc; but also at the levels of genre, art form, etc) based on a clear editorial focus, such that the content and connections between it are nurtured not simply scraped.
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I think Snelson's work can help us understand the centrality and value of subjective intention in these projects. In the spirit of remix culture, the 'editor function' is itself a compositional act. For me, [John Baldessari](https://ubu.com/film/baldessari.html) taught us the greatest lesson about post-conceptual artistic composition: it is simply the act of deciding ["this not that"](https://search.worldcat.org/title/this-not-that-the-artist-john-baldessari/oclc/500391349).
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From this point of view, we can draw out a difference between UBUweb and the kindred archives on our dominant axis. Memory of the World is an experiment in public librarianship. Monoskop is a wiki-driven public reference tool. UBUweb is more like a series of overlaid playlists, more like a private library shared, including for those who guest-edited sub-sections.
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