|dc.description.abstract||The present volume is a small part of a larger research activity conducted by the editor at Oslo National Academy of the Arts (KHiO). As the physical volume its precedents are 1) interceptions[at]centre_pompidou (2011), a collaborative project with the Norwegian Academy of Music [NMH], and 2) Commons in Transit (2015) that were both archives compiled in books.
These projects were based on a strict chronological delivery-regime—the archive as a legal deposit—and bound for the intention for use in future research (whether by the author himself, or others who were interested). The 2011-volume was hot-glue bound, while the 2015 was cold-glue bound, according to a method used at the National Archive, at Ian Brown’s suggestion.
With the present volume, the intention has been to drive the process of book-building one step onwards: the core is bound according to the National Archive Standard. It is also a low-cost publication, as the other two, both in regard of the paper & printing costs and in regard of the amount of work put into the design. The idea being to reach for what is needed, not the ultimate.
The KYOTObook has been compiled and developed with the idea of book-format that itself constitutes a maker-space—and gives an idea of a maker-space—with contents that are in-themaking.
It departs from the traditional work-in-progress format in that materiality of the book communicates a validity of the maker-space; as a place to live and work.
These ideas are cultivated not to undermine the validity of the finished product—finalised text, layout and production—but to claim the res publica (public matter/thing) of making; which is what we, in a number of different aspects, is what we ask of our students in the context of the art school. This is to highlight a) the experimental process, and b) the process of value-making.||