Meantime index

Abstract

“The card index marks the conquest of three-dimensional writing, and so presents an astonishing counterpoint to the three-dimensionality of script in its original form as rune or knot notation. (And today the book is already, as the present mode of scholarly production demonstrates, an outdated mediation between two different filing systems. For everything that matters is to be found in the card box of the researcher who wrote it, and the scholar studying it assimilates it into his own card index.)” (Walter Benjamin, SW1, p. 456) ______ MEANTIME index: 49 sheets/entries FLYER archive (cf, links document): 49 sets of 6—296 sheets/entries TOTAL: 345 sheets/entries PORTFOLIO: Project Spinoza ______ The present leaflet-index seeks to transpose the quest and query of a flyer archive—deposited by small steps during the C19 pandemic—to a realm of applicability beyond the individual research featuring in the archive, and marking the end of the period, by seeing the contents from the vantage point of the target area: the area of arrival. The idea of charting, tiling and mapping previous outcomes and folding them into current practices led to a reflection on surfaces, imbued with perspective (an illusion) and with the depth of time (fictional content): as a cartographic disposition that can be marked by reality. This leaflet upload contains an archive of a card-index with 49 entries, called leaflets. The first series—made up of 7 elements—is devoted to DIARIES, and proposes a round-up of learning outcomes from a course in theory development for first year master students in design. The learning outcomes are here the ones reaped at the course level (based on the assumption that not only students have learning outcomes, but also our courses). The language used for this purpose has been adopted for a professional exchange various adaptations of the course can be envisaged (based on exchange with interested professional milieus). In sum, the archive features learning outcomes at a course level with a concern that they should be readable to a third party: not adapted nor ready to use. A mean term language sought in the card-index is accordingly a theoretical language. The collection queries viable candidate relations between PRACTICES and SURFACES. It seeks to cross a threshold of precision needed to be a) true of its specialised contents; b) readable to a 3rd [interested] party. The topics, that will be covered in successive updates, are: —DIARY; dedicated to MA1 2022 design logbooks, —PHOTOGRAVURE; dedicated to Prof. Jan Pettersson —SYMBOLIC ACCURACY; dedicated to MA1 2022 Greenwashing of the year award, w/the Consumer Council —POÍESIS; dedicated to Enrique Guadarrama Solis & Alejandra Aguilar Caballero. —THEORY DEVELOPMENT; dedicated to Prof. Arnd Schneider’s Expanded visions: a new anthropology of the moving image. —ANTIPODES; dedicated to artistic- and scientific research —DATUM; dedicated to DANCE [the BODYCARTOGRAPHY project]

The upload seeks the LINEUP, rather than the exhibit (that is, Aufstellung in German, rather than Ausstellung). Consistent with an idea of passage, stricture, canalising, and creation in theory development. This idea of theoretical creation, however, starts with artistic practice and ends with artistic practice: it proposes a systematic approach to a looped reflection that is congenial with the individuation and assemblage of practitioners in, through and on their work. The scientific employee at Oslo National Academy of the Arts often works as a house-critic and a researcher devoted to the re-effecting of artistic production. In this role—resembling that of the dramaturg—s/he occasionally hatches materials of academic interest. This two-way communication—between art and academia—is one of the characteristic turnouts from this specific role. Exploring the flight-lines of learning together: researching WITH, rather than researching ON. The surface as a fictional entity—that holds the remote at a proximal hands-length distance—is in itself cartographic. It theorises with a foothold in the concrete. And in this resembles Aby Warburg’s Mnemosyne Atlas project, whereby a number of panels are lined up—usually in a library, or in an environment with books—to trigger, by its visual readability, tactile relations between other elements present (in his case books). The readability of his panels is inter alia triggered by adding something of one’s own, rather than merely interpreting/representing what is present. And thereby introducing a post-interpretive and non-representational approach to images.

The objective is to explore the power of invention: to establish the lifting power in the learning outcomes from C19, define the practices and move them to define new practices, and finally to land them. Lifting, moving and landing all depend on criticality: i.e. a critical mass releasing emergent materials at each consecutive step. Featuring what artist, philosopher, psychoanalyst and feminist Bracha Ettinger has called wit(h)nessing: witnessing what we also are immersed in.

See also (on KHiODA): A) #14/1—Lineup B) Memory atlas & the redrawing of the terrestrial C) Screening representation—Short-circuits D) "Wheeling" environmental humanities— Educating designers in excess of what designers do. E) MQAR—Matching Qualities in Artistic Research w/Henrik Hellstenius NB! See the LINKS document* (to the bottom left) for access to the FLYER archive w/background. The account for the place of this ensemble—as a laboratory for a wider framework, the SPINOZA project—will be accounted for in a separate entry (forthcoming). It is intended to provide an occasion to turn the page by making a harvest og learning outcomes, in the form of a theoretical discussion. A transportable luggage to a new project with a research residency at the National Library (Oslo).