Archive Theory

“ (…) Working in Women’s Archives, kadınların yazılı mirasını ve tarihini feminist bir perspektifle anlamaya çaba harcayan kritik bir kitap özelliği taşıyor. Kitapta, defalarca çeşitli yollarla arşivlerin yalnızca bir bilgi deposu değil, aynı zamanda toplumsal değerlerin ve önyargıların yansıdığı yerler olduğu vurgulanıyor. En önemlisi de kadınların tarih boyunca “susturulmuş seslerini” duyurmak için araştırmacılara yeni yollar öneriyor.”

In The Archive and the Aural City, Alejandro L. Madrid examines the possibilities for retrieving from the archive sounds that were not meant to be heard. Drawing on Ángel Rama’s notion of the Lettered City, Madrid proposes a notion of the Aural City—a Latin American urban intellectual elite for whom sound and listening are central to the creation, re-creation, and circulation of new types of knowledge. While many of these elites carry forward a nationalistic agenda, Madrid contends that the Aural City’s archives and the ways they are listened to and conceived through sound and music can also help dismantle dominant frameworks of national or colonial culture and build more inclusive spaces for intellectual exchange and political mobilization. From national archives in Latin America and colonial institutions abroad to sound exhibits, instruments, and internet-based archival projects, Madrid demonstrates how the development of urban spaces is understood through sound. In this way, he expands understandings of the archive’s social and sonic power.

Methodology for processing the funds of parish offices of the Roman Catholic Church that originated in the territory of the Czech Republic. The text is the result of years of research and preparation by a team of archivists. It aims to enable the processing and inventorying of archive collections of the parish office type. It also deals in detail with the various agendas carried out by these offices and provides a brief historical overview. It contains two files in pdf format. (title page with content and separately the text of the methodology itself).

From critiques of baked-in sexism in data science, to the use of data in the service of feminism, feminist data activism has emerged as a new form of feminist activism. This paper approaches feminist data activism from a data imaginary perspective, focusing on a prominent feminist initiative from Australia called She's A Crowd, an organization that claims to have crowdsourced the world's largest dataset of gendered violence. Through interviews with 11 participants who volunteered their "datafied stories" to the organization, I explore the grassroots imaginaries about what data is and what it can do for the collective struggle against gendered violence. I show that participants' experiences with not being believed led them to see data-driven stories as having superior epistemic value over qualitative narratives. Paradoxically, even when data is viewed as superior due to its detachment from the personal, concerns about its authenticity and quality persist. Consequently, participants advocated for increased data collection as the ultimate solution to address these limitations. Thus, if the imaginary of a binary between "data" and "stories" privileges data as a superior epistemic solution, the imaginary of limitation reinforces more data collection as the only solution imaginable. I argue that at stake is how these imaginaries locate the legitimacy of marginalized experiences within the dataset, obscuring how data collected from the grassroots might circulate within and be interpreted by hegemonic knowledge practices. This paper opens a conversation about feminist data activism and the power relations it is enmeshed within, an area that remains under explored.

Cultural heritage organizations produce a vast quantity of heterogeneous datasets that are often held inside their walls; sometimes, they are not easily accessible for technological and organizational reasons. This increases when dealing with textile collection-based institutions that are usually small or medium-sized with a lack of resources or expertise to deal with the current digital trend. This paper shows the results of the SILKNOW H2020 project from involvement with museums housing textile collections, with the goal of helping them improve their digital asset management. This was done through three workshops held with forty museums and textile institutions and a qualitative survey with thirty-one institutions, with the aim of developing a compendium of Best Practices for Textile Collections about Documentation and Digital Data Curation, together with recommendations for future developments.

Cultural heritage organizations produce a vast quantity of heterogeneous datasets that are often held inside their walls; sometimes, they are not easily accessible for technological and organizational reasons. This increases when dealing with textile collection-based institutions that are usually small or medium-sized with a lack of resources or expertise to deal with the current digital trend. This paper shows the results of the SILKNOW H2020 project from involvement with museums housing textile collections, with the goal of helping them improve their digital asset management. This was done through three workshops held with forty museums and textile institutions and a qualitative survey with thirty-one institutions, with the aim of developing a compendium of Best Practices for Textile Collections about Documentation and Digital Data Curation, together with recommendations for future developments.

يحاول هذا الفصل مقتصرًا على تغطية وجه واحد من نظرة الفلسطينيين من الحرب ونتائجها متصل برأس هرم التنظيمات الفلسطينية "فتح"- تقديم قراءة وثائقية لحرب تشرين الأول/ أكتوبر 1973 من خلال هذه الوثائق المكتومة سابقًا، وباستحضار نصوص أخرى مختلفة رافقت الحرب ومآلاتها، لبيان الموقف الفلسطيني من الحرب، و"حيرة" قيادة المقاتلين الفلسطينيين التالية للحرب وتطوراتها. كما يضيء من خلال بعض الوثائق، التي يمكن اعتبارها "تذكرات" قريبة من لحظة الحدث، على بعض المواقف المصرية من الحرب، ومن مشاركة الفلسطينيين فيها.

El artículo estudia el archivo como práctica social y como proceso semiótico. La primera perspectiva se apoya en la noción de práctica de Althusser y propone reconocer tres prácticas de archivo articuladas: una práctica teórica, una material y una política. La segunda perspectiva se vale de la semiótica peirceana y la metodología del nonágono semiótico elaborada por Guerri. Se desarrolla visualmente la interacción de las materias primas de las diferentes prácticas y se identifican tres procesos: la categorización, la activación y la simbolización. Para la activación se reconocen tres estrategias: manipulación, enrarecimiento/banalización y apropiación. Aunque la atención está en los archivos institucionales latinoamericanos, las hipótesis alcanzan también las prácticas analíticas y las acciones artístico-poéticas con archivos.

Este ensayo parte de la pregunta por la "invisibilidad" habitual del monumento en las ciudades y la relevancia que cobra en tiempos de guerra o cambio político que lleva a su inmediata destrucción. Los historiadores y planificadores urbanos coinciden en que resguarda la memoria de los pueblos, se proyecta al futuro y constituye un archivo. La pregunta por el archivo es examinada desde los conceptos de "mal de archivo" de Jacques Derrida y los de Inconsciente y Pulsión de muerte de Sigmund Freud, en tanto el psicoanálisis es una teoría sobre el archivo. Se concluye que el monumento en sí mismo es la memoria del olvido, y porta en sí el proceso destructivo de la pulsión de muerte. Lo que resguarda es lo insabido, que se abrirá desde el por-venir.

This chapter discusses some of the theoretical insights on autofiction gained in the context of the international research project "Rethinking the Real: Autofiction and Critical Discourse in Spain and Argentina." Coordinated by Ana Casas (University of Alcalá), the project is currently being conducted by an interdisciplinary group of scholars with the support of a research grant awarded by the Spanish Ministry of Science and Innovation (FFI2017-89870-P).

This volume explores the Arctic as an important and highly endangered archive of knowledge about natural as well as human history of the anthropocene.
Focusing on the Arctic as an archive means to investigate it not only as a place of human history and memory - of Arctic exploring, ›conquering‹ and colonizing -, but to take into account also the specific environmental conditions of the circumpolar region: ice and permafrost. These have allowed a huge natural archive to emerge, offering rich sources for natural scientists and historians alike.
Examining the debate on the notion of (›natural‹) archive, the cultural semantics and historicity of the meaning of concepts like ›warm‹, ›cold‹, ›freezing‹ and ›melting‹ as well as various works of literature, art and science on Arctic topics, this volume brings together literary scholars, historians of knowledge and philosophy, art historians, media theorists and archivologists.

The aim of this study is to recognize the historical importance of the cement brick that came into use in the domestic architecture of Mexico City in the revolutionary period (1910-1920) and to argue why it fell into disuse in such a pronounced way. An inductive-deductive method was used in four steps. It was argued that, although the use of cement brick in the construction of housing in revolutionary Mexico allowed the transition from a more artisanal process to a more technified one, in the end its significance did not transcend time, forgotten by the advent of reinforced concrete.

This essay offers two things: First, an autoethnographic outline and analysis of an experience of the archive and its role in historiography. The framework for this analysis consists of various themes from archival theories, notably the archive as a place of passage and the vulnerability of the archive. Second, it points to possible gaps in its current theorisation. The author shows that the noted two themes were well present in the experience of the archive, as well as in the process of biographical writing. However, experiences of emotion and the recovery of agency do not currently fit into this framework. These phenomena are recommended for further research and theorisation. Moreover, their possible role for (church) historians is considered.

This essay offers two things: First, an autoethnographic outline and analysis of an experience of the archive and its role in historiography. The framework for this analysis consists of various themes from archival theories, notably the archive as a place of passage and the vulnerability of the archive. Second, it points to possible gaps in its current theorisation. The author shows that the noted two themes were well present in the experience of the archive, as well as in the process of biographical writing. However, experiences of emotion and the recovery of agency do not currently fit into this framework. These phenomena are recommended for further research and theorisation. Moreover, their possible role for (church) historians is considered.

En este artículo se plantea la necesidad de que los centros de documentación de los museos de arte contemporáneo utilicen, en particular, los procesos de catalogación y, en general, la gestión documental para construir nuevos públicos y para crear comunidades de sentido en torno de sus acervos. La pregunta de partida es cómo hacer que la descripción catalográfica se convierta en un canal de colaboración entre archivistas, artistas, curadores, críticos de arte, activistas, investigadores y demás profesionales, e incluso visitantes, tanto fuera como dentro del museo. Tomando como caso de estudio la categoría arte conceptual, esta investigación analiza las herramientas de vinculación social (social tagging) utilizadas por los modelos estandarizados de catalogación. ___ In this article, we argue the need for documentation centers in contemporary art museums to use cataloguing processes, in particular, and information management, in general, to build new audiences and to create communiti...

The article focuses on the phenomenon of “Wild Archaeologies” – that is, on “archaeologies” that have appeared in the history of knowledge outside of Classical Archaeology: The first of these projects one thinks of, is of course Foucault’s L’archéologie du savoir, but there has also been Freud’s archaeology of the soul, Benjamin’s archaeology of modernity as well as Kittler’s archaeology of media – and even Kant’s archaeology of metaphysics. All of these various projects experimented with a material reflection of temporality and presented alternatives to the conventional historical thinking of the past. What do these various projects have in common? What is their historical, philosophical and epistemological relation to contemporary archive theory as well as to Classical Archaeology? And which consequences has this “archaeological method” or thinking for art history? And finally, what does Giorgio Agamben’s recent claim mean: that “the archaeologist’s gesture is the paradigm of ever...

Cet article se propose de lire Lieux, projet inachevé de Georges Perec publié posthumément en 2022, en tant qu’œuvre charnière dans l’évolution des réflexions de Perec sur la mémoire, considérée comme travail et comme appel au partage. Dans un premier moment, l’étude esquissera brièvement une histoire du projet pour saisir les enjeux de sa rédaction, comprendre les possibles raisons de son abandon final et répondre aux questions de légitimé au sujet de sa récente publication posthume en double version, papier et électronique. Ensuite, dans le sillon de l’étude de Philippe Lejeune La mémoire et l’oblique, l’article proposera une lecture de Lieux focalisée sur les approches de la mémoire à l’œuvre dans ce texte. L’approche expérimentale de Perec vis-à-vis de la matière autobiographique, se heurtant aux questionnements, aux tâtonnements, aux incertitudes de l’auteur, se reflète dans une écriture hybride, errante, préfigurant les notions de multiple, de potentiel, d’appel aux autres qui caractériseront les projets successifs de l’auteur.

This academic report is a part of a research, from the perspective of visual studies, on landscape art of modernity and after it in the Western tradition. This work proposes to analyze, in accordance with the structuralism of Thomas Kuhn, the change in visual Gestalt of the beginning of the 20 th century related to the articulation in art

Strict  scientific  research  canons  are  now  evolving  towards  more  democratic  methods.  With  this  transformation,  while  some  concepts  discussed  in  the  past  became  clear,  some  new  issues  to  be  discussed also emerged. One of them is the evaluation of the point of view towards the institution and concept ‘archive’ in terms of public, personal/personal and social sciences. It is considered important to  ask  new  questions  around  three  circles:  public  approach/attitude,  personal/personal  approach/attitude  and  social  sciences  approach/attitude.  The  main  aim  of  the  study  is  to  open  a  discussion based on the interpretation of these three approaches/attitudes about whether an honest  Abstract Strict  scientific  research  canons  are  now  evolving  towards  more  democratic  methods.  With  this  transformation,  while  some  concepts  discussed  in  the  past  became  clear,  some  new  issues  to  be  discussed also emerged. One of them is the evaluation of the point of view towards the institution and concept ‘archive’ in terms of public, personal/personal and social sciences. It is considered important to  ask  new  questions  around  three  circles:  public  approach/attitude,  personal/personal  approach/attitude  and  social  sciences  approach/attitude.  The  main  aim  of  the  study  is  to  open  a  discussion based on the interpretation of these three approaches/attitudes about whether an honest approach to the archive concept is possible. In the study, questions about all three attitudes will be asked,  answers  will  be  sought  and  evidence  will  be  presented.  It  is  thought  that  what  makes  the  discussion valuable - although there is no final answer - is the first time that it is problematized and dealt  with  alone  in  the  field  of  archiving. When the archival literature in Türkiye is examined, the study  can  be  considered  as  a  contribution  to  the  valuable  works  on  archival  theory  -  that  is,  its  philosophy  -  and  it  is  complementary  when  compared  to  studies  abroad.  In  this  respect,  it  can  be  considered both as a new discussion topic for the archival discipline and as a scientific study area that can be completed. A literature review has been made regarding the perspective on the archive in social sciences, especially archival and historical science, and new interpretations on scientific and philosophical planes have been tried to be included. In this way, attention was paid to gain an interdisciplinary  feature,  and  care  was  taken  to  make  a  direct  -not  indirectly-  contribution  to  the  field. Keywords: Archive theory; Archive Perception; Historical Writing; Archive in social sciences.

This article begins with an examination of the increasing border enforcement and militarization of the US/Mexico border in recent years. This has led to the detention of thousands of migrants from, mainly, countries of the Northern Triangle. These migrations have been prompted by poverty, unemployment, gang wars, and environmental disasters. Among these migrants there has been a growing number of unaccompanied minors fleeing from exploitation and other dangers. A significant number of these children are sent to various states, where they wait, sometimes for years, for their asylum case to be heard. Others go missing. The main focus of the article is on these unaccompanied children, those who end up in immigration courts and those who are missing. Two texts by Valeria Luiselli are the subjects of analysis – one a non-fiction essay – Tell Me How It Ends (2017) – which is concerned with those children seeking asylum in the New York Immigration court; the other is a novel – Lost Childre...

Bu sunum, 27-28 Mayıs 2022 tarihinde, Bartın Üniversitesi'nin organize ettiği "Uluslararası Gelenekten Geleceğe Bilgi ve Belge Yönetimi Sempozyumu" için hazırlandı. Sunum, online olarak yapılmış bildiriye ait sunumdur. Bildirinin tamamı bildiri kitabında yayınlanmak üzere gönderilmiştir.

Özet
Katı bilimsel araştırma kanonları günümüzde giderek daha demokratik yöntemlere doğru evrilmektedir. Bu dönüşümle, geçmişte tartışılan bazı kavramlar netleşirken bazı yeni tartışılacak konular da ortaya çıkmıştır. Bunlardan biri de kurum ve kavram olan “arşiv”e yönelik bakış açısının kamusal, kişisel/şahsî ve de sosyal bilimler açısından değerlendirilmesi konusudur. Kamusal yaklaşım/tavır, kişisel/şahsî yaklaşım/tavır ve de sosyal bilimlerin yaklaşımı/tavrı olarak üç çember etrafında yeni sorular sormak konuyu şekillendirmek açısından önemli görülmektedir. Arşiv kavramına yönelik dürüst bir yaklaşımın mümkün olup olmadığına ilişkin bu üç yaklaşımın/tavrın yorumlanmasına dayalı bir tartışma açmak çalışmanın en temel amacıdır. Çalışmada,  her üç tavra ilişkin sorular sorulacak, cevaplar aranacak ve kanıtlar sunulacaktır. Tartışmayı değerli kılan şeyin -nihai bir cevabı olmamakla beraber-, arşivcilik alanında ilk kez yalnız başına sorunsallaştırılıp ele alınıyor olduğu düşünülmektedir. Çalışma, Türkiye’deki arşivcilik literatürü incelendiğinde arşiv teorisi -yani felsefesi- konusunda yapılan değerli işlere bir katkı olarak ele alınabileceği gibi, yurtdışındaki çalışmalarla karşılaştırılınca tamamlayıcı bir özelliktedir. Bu yönüyle de arşivcilik disiplini için hem yeni bir tartışma konusu hem de eksikleri tamamlanmaya müsait bir bilimsel çalışma alanı olarak düşünülebilir. Başta arşivcilik ve tarih bilimi olmak üzere sosyal bilimlerdeki arşive yönelik bakış açısına ilişkin kaynak taraması yapılmış, bilimsel ve felsefi düzlemde yeni yorumlamalara yer verilmeye çalışılmıştır. Bu sayede disiplinler arası bir özellik kazanmasına dikkat edilmiş, alana dolaylı değil doğrudan katkı yapmasına özen gösterilmiştir.

Abstract
Strict scientific research canons are now evolving towards more democratic methods. With this transformation, while some concepts discussed in the past became clear, some new issues to be discussed also emerged. One of them is the evaluation of the point of view towards the institution and concept “archive” in terms of public, personal/personal and social sciences. It is considered important to ask new questions around three circles: public approach/attitude, personal/personal approach/attitude and social sciences approach/attitude. The main aim of the study is to open a discussion based on the interpretation of these three approaches/attitudes about whether an honest approach to the archive concept is possible. In the study, questions about all three attitudes will be asked, answers will be sought and evidence will be presented. It is thought that what makes the discussion valuable - although there is no final answer - is the first time that it is problematized and dealt with alone in the field of archiving. When the archival literature in Turkey is examined, the study can be considered as a contribution to the valuable works on archival theory - that is, its philosophy - and it is complementary when compared to studies abroad. In this respect, it can be considered both as a new discussion topic for the archival discipline and as a scientific study area that can be completed. A literature review has been made regarding the perspective on the archive in social sciences, especially archival and historical science, and new interpretations on scientific and philosophical planes have been tried to be included. In this way, attention was paid to gain an interdisciplinary feature, and care was taken to make a direct -not indirectly- contribution to the field.

This chapter examines three recent autofictional documentaries produced in Argentina and Spain—Albertina Carri’s Cuatreros (Rustlers), Mercedes Álvarez’s Mercado de futuros (Futures Market), and Víctor Erice’s Vidros partidos (Broken Windows)—which share a distinctive “archival impulse.” These films propose a meaning in a specific political sense which we read in relation to the contexts of the Iberian financial crisis and the memories of political violence during the last dictatorship in Argentina. We address the autofictional strategies through which the filmmakers “re-stage” the archive by adopting an aesthetics of ambiguity that unsettles the modern paradigm of the archive as static evidence of a given reality, revolving instead around a conception of the archive as a self-reflective process that becomes the subject matter in its own right.

From global search engines to local smart cities, from public health monitoring to personal self-tracking technologies, digital technologies continuously capture, process, and archive social, material, and affective information in the form of big data. Although the use of big data emerged from the human desire to acquire more knowledge and master more information and to eliminate human error in large-scale information management, it has become clear in recent years that big data technologies, and the archives of data they accrue, bring with them new and important uncertainties in the form of new biases, systemic errors, and, as a result, new ethical challenges that require urgent attention and analysis. This collaboratively written article outlines the conceptual framework of the Uncertain Archives research collective to show how cultural theories of the archive can be meaningfully applied to the empirical field of big data. More specifically, the article argues that this approach g...

Catherine D’Ignazio is a scholar, artist/designer and software developer who focuses on data literacy, feminist technology and civic art. She has run breastpump hackathons, created award-winning water quality sculptures that talk and tweet, and led walking data visualizations to envision the future of sea level rise. Her research at the intersection of gender, technology and the humanities has been published in the Journal of Peer Production, the Journal of Community Informatics, and the proceedings of Human Factors in Computing Systems (ACM SIGCHI). D’Ignazio is an Assistant Professor of Civic Media and Data Visualization at Emerson College, a faculty director of the Engagement Lab and a research affiliate at the MIT Center for Civic Media.

From global search engines to local smart cities, from public health monitoring to personal self-tracking technologies, digital technologies continuously capture, process, and archive social, material, and affective information in the form of big data. Although the use of big data emerged from the human desire to acquire more knowledge and master more information and to eliminate human error in large-scale information management, it has become clear in recent years that big data technologies, and the archives of data they accrue, bring with them new and important uncertainties in the form of new biases, systemic errors, and, as a result, new ethical challenges that require urgent attention and analysis. This collaboratively written article outlines the conceptual framework of the Uncertain Archives research collective to show how cultural theories of the archive can be meaningfully applied to the empirical field of big data. More specifically, the article argues that this approach g...

This research article presents the application of a model of museum visitors’ satisfaction
which was developed through visitor studies in four museums in Argentina.
The model aimed to identify what influence the visitors’ own characteristics, as well
as their perception of the experience the museum offers them, had on their overall
satisfaction. Data was collected in two stages: one before the visit and another one
immediately after. This process permitted the identification of certain common patterns
to all the case studies in relation to visitors’ satisfaction, a necessary condition
to better understand their needs and behavior, in order to generate memorable
experiences.

The designator ‘contemporary art’ refers to an art that somehow addresses and expresses the present. But what is this present? What constitutes the present present and the contemporary contemporary? ‘When are you from?’, as the legend on the Liverpool Biennial bags reads.

The designator ‘contemporary art’ refers to an art that somehow addresses and expresses the present. But what is this present? What constitutes the present present and the contemporary contemporary? ‘When are you from?’, as the legend on the Liverpool Biennial bags reads.

“Archival Practices in Post-millennial Documentary Cinema in Argentina and Spain.” The Autofictional: Approaches, Affordances, Forms. Eds. Alexandra Effe and Hannie Lawlor. New York: Palgrave Macmillan, 2022. Co-authored with Anna Forné. 227-246.

This chapter examines three autofictional documentaries produced in Argentina and Spain in the past decade that share a distinctive “archival impulse” (Foster 2004; Derrida 1995): not a will to totalize so much as a will to relate to, and explore, a misplaced past or present time. These archival cinematic works propose an order and a meaning in a very specific political sense, which will be read here in relation to the contexts of the Iberian financial crisis and to the memories of political violence during the last dictatorship in Argentina (1976–1983). We will address the strategies through which the filmmakers use autofictional modes to “re-stage” the archive, so to speak, by adopting an aesthetics of ambiguity that intermittently destabilizes the evidential paradigm of the modern archive.

In this dissertation, I argue that twenty-first century urban archival montage films eschew the dominant historiographical strategies of documentary film and encourage the development of a historically conscious spectatorship. The thesis examines three North American city-symphonies-in-reverse, Los Angeles Plays Itself (Thom Andersen, 2003), the Lost Landscapes film programs (Rick Prelinger, 2006-2017), and My Winnipeg (Guy Maddin, 2007). Each film takes as its explicit subject a North American city significant to its author—Detroit, Winnipeg, San Francisco, and Los Angeles—as seen through specific types of archival material. These particular cities have had geographically unique film cultures, and the archival material related to those film cultures shows the importance of investing in and recognizing local film cultures and histories. These films demonstrate that we have been alienated from our local histories in North America, and they provide key strategies to create historical ...

Resumo: Este artigo tem como base o resultado de um projeto independente, realizado pelo pesquisador desde maio de 2012. O site Isto não é um cachimbo-Perfis Literários (www.istonaoeumcachimbo.com) é voltado à experimentação do formato biográfico breve, por meio do qual foram abordados 12 escritores contemporâneos. Levados à condição de objeto de estudo, os perfis literários são defendidos como uma ferramenta crítica inscrita entre o biográfico, o ficcional e o ensaístico. Diante da problemática do retorno do autor, o pastiche do perfil jornalístico surge como forma renovada de retratar o escritor do novo milênio. Ademais, um reconhecimento do circuito literário é feito com a ajuda dos estudos de Ítalo Moriconi e Paula Sibilia. Leva-se em consideração ainda a insuficiência da função autor concebida por Michel Foucault em conjunto com questões acerca do biográfico trazidas por Philippe Lejeune e Leonor Arfuch.

Museums serve as beacons of culture and have, in the past, served as colonialist sites of power, repression, and reflected an authoritative, linear view of history and ethnocentrism.  While they have been used to suppress, they have also been used to educate and perhaps are too complex of entities to strip down into such a limited range of purposes.  The museum is not a tool for suppression any more than the library or the archive, yet, like any site of power, it can be used for the wrong purposes.  In the dystopia of Brave New World, after Ford (A.F.) no new books were created, and museums became extinct.

Reseña de Ana Casas. en Pasavento (verano 2021).

Cuando apenas parece que el debate en torno a la autoficción pudiera estar casi clausurado (hasta tal punto se han publicado trabajos sobre esta categoría, así como sobre las muchas manifestaciones artísticas que pueden adscribirse a la que ya podemos considerar una forma hegemónica de los relatos del yo), aparece el libro de Patricia López-Gay Ficciones de verdad. La narrativa de vida y el giro autoficcional en la fiebre de archivo para alumbrar nuevos sentidos a una etiqueta tan (mal) usada como productiva aún. Subraya este volumen, rico y conceptualmente complejo, el valor de la autoficción como fenómeno de época: desde hace algunas décadas, las narraciones de vida han experimentado el llamado giro autoficcional, al tiempo que la noción de realidad se hacía más escurridiza, gracias a problematizar los géneros referenciales -en especial, la autobiografía-, y condenarlos a estar bajo sospecha en la medida en que “el yo autoral reconstruye ruinas de una realidad abiertamente permeable a la ficción” (38).

This article seeks to explore the problematics of engaging with archives. In exploring how nonexperts may come to a new topic and area to ask pertinent questions, this article seeks to put to work the author’s own reflexive engagements with an archive. The archives drew the author in both material and bodily senses and invited thinking about how we might reuse data or at least reengage with materials. The article challenges notions that reflexivity is circular or upholds sameness and proposes that the movement is iterative and one which seeks critical engagement with difference.

On assiste, depuis la deuxième moitié du vingtième siècle, à une accumulation étonnante de tentatives d’épuisement, qui témoigne de la très grande force symbolique de cette démarche. On y voit une véritable poétique, une façon d’aborder le réel et ses objets en tentant d’en épuiser le sens, la forme ou le matériau même. Ces tentatives d’épuisement ne sont pas nécessairement liées à des dispositifs numériques, mais elles prennent place aisément dans une culture de l’écran, puisque le numérique en surdétermine le principe, en multipliant de façon presque exponentielle les possibilités de réussite. L’idée même d’une tentative d’épuisement d’un lieu est apparue, en 1974, quand Georges Perec s’est installé place Saint-Sulpice à Paris et a entrepris de dresser la liste de tout ce qu’il voyait, les passants, les oiseaux, les camions, autos et autocars, les clients des cafés, les variations de température, tout ce qui pouvait être noté, les faits usuels de la vie quotidienne. Nourries par l...

In this paper I assess how Guy Vanderhaeghe’s early fiction criticizes the class-based and civil movements of post-1960s Saskatchewan through the recurring character of Ed. The protagonist of “Man Descending” and “Sam, Soren, and Ed” from Man Descending, the uncollected “He Scores! He Shoots!” and the novel My Present Age, Ed both condemns and epitomizes the contaminated and seductive gestures of the movements’ influences and enterprises. Vanderhaeghe deploys layers of social criticism: the first comments on the new urban progressive generation—the BMW socialists—while another manifests a counter-criticism that comments on those who challenge social progress, questioning their motives and the credibility of their critique. But what is a BMW socialist? A sociopolitical chameleon hiding behind pretense? Ed describes such a creature as a former “nay-sayer and boycotter” who “intended to dedicate his life to eternal servitude in a legal-aid clinic,” but then “affluence did him in” and n...

This article explores an under-examined performance poem by the artist Kurt Schwitters referred to as 'The Silence Poem'. This work is explored through arts practice based research within the context of Heather Ross's moving image based installation 'The Loud and the Soft Speakers'. In this work Ross presents a contemporary iteration of Schwitters' poem to investigate the performance within the context of Schwitters' internment on the Isle of Man. Further, she examines the valuable role that re-enactment can play in researching the work of Kurt Schwitters; in accessing and synthesising archival materials, providing a more sensorial engagement with Schwitters' ideas and how making this performance visible can impact the reception of his other artworks.

Reseña de Nuria Morgado en Hispania.

Este ejemplar y lúcido estudio de Patricia López-Gay se concentra en la cuestión de la auto cción, o narrativas de vida, en relación al archivo. Siendo las escrituras vivenciales sintomáticas de lo que se ha venido denominando “ ebre de archivo”, estas narrativas corroboran la necesidad de activar en el lector contemporáneo la descon anza sobre lo que es real. Inicia su libro, Ficciones de verdad. Archivo y narrativas de vida, con una descripción de la exposición Archivo de archivos (1998–2006) de la artista plástica catalana Montserrat Soto, una exposición que tuvo lugar en el Museo de Arte Moderno de Barcelona en el año 2007. López-Gay explica que el “archivo de archivos” de la exposición incluía antiguas fuentes documentales, rastros geológicos y biológicos de la memoria, recuerdos, y otros rastros posibles, para narrar la historia incierta del archivar como práctica de producción y preservación cultural.

In the course of the project Wissensspeicher, thematic perspectives emerged mainly from work on the collection of publications produced by the nGbK. The specific view of art fostered by the society often focusses on the question of possibilities and limits. “Art must have an effect” was the early motto, which frequently led and leads, among other things, to activistic demands being formulated after theoretical discussions. The knowledge acquired is represented on this Website in excerpts, rhizomatically, in the form of a review, like a physical archive. What started as a list of subjects and key words became an ABC, a memory bank, which makes it easier to transfer knowledge and provide access to the nGbK’s rich history.

This essay offers a much-needed history of the Moulin d'And e, a utopian community in Normandy that welcomed an array of political, intellectual, and artistic figures. In particular, it focuses on a few collaborative projects that came out of the Moulin d'And e, which were helmed by Georges Perec: Christine Lipinska's photographs for Perec's long-form poem La Clôture (1976), Bernard Queysanne and Perec's filmic adaptation of Perec's novel Un homme qui dort (1973), and Perec's novel La Disparition (1969). By analyzing how these various projects understood and enacted the process of collaboration, this essay considers what kinds of community practice were fostered by the Moulin d'And e. KEYWORDS Georges Perec; Moulin d'And e; May '68; French literature When Suzanne Lipinska, millionaire heiress of the V erigaud soft-drinks firm, inherited the Moulin d'And e, a former mill built in 1195 and out of commission since 1864, she did not necessarily set out to create an artists' community. In the years after she moved into the Moulin in 1956, artists and intellectuals traveled to the converted mill in Normandy, in order to: "se r efugier, se retirer, se ressourcer, travailler," as Maurice Pons, one of the Moulin's long-time residents put it (Lipinska, "Perec au Moulin" 48). The mill was not another '68 political collective or groupscule, nor was it a hippie commune, but a phalenst ere: a utopian artistic community, built around communal living. "L'esprit du Moulin," as Suzanne Lipinska called it, was one of convivial, free exchange; inhabitants shared household responsibilities, meals, and conversation, but were otherwise free to work on their own (48). The Moulin itself did not promote any particular intellectual project or favor a particular agenda, but brought together friends and acquaintances of Lipinska and other residents. In its early days, the Moulin could house a modest number of guests (about fifteen), and Suzanne hosted a hodge-podge of intellectuals from all over the world, including authors, actresses, painters, pianists, scriptwriters, playwrights, African ministers, and soixante-huitard activists. 1 Most famously, the Moulin welcomed participants in the Premier Congr es

From global search engines to local smart cities, from public health monitoring to personal self-tracking technologies, digital technologies continuously capture, process, and archive social, material, and affective information in the form of big data. Although the use of big data emerged from the human desire to acquire more knowledge and master more information and to eliminate human error in large-scale information management, it has become clear in recent years that big data technologies, and the archives of data they accrue, bring with them new and important uncertainties in the form of new biases, systemic errors, and, as a result, new ethical challenges that require urgent attention and analysis. This collaboratively written article outlines the conceptual framework of the Uncertain Archives research collective to show how cultural theories of the archive can be meaningfully applied to the empirical field of big data. More specifically, the article argues that this approach g...

En este artículo se plantea la necesidad de que los centros de documentación de los museos de arte contemporáneo utilicen, en particular, los procesos de catalogación y, en general, la gestión documental para construir nuevos públicos y para crear comunidades de sentido en torno de sus acervos. La pregunta de partida es cómo hacer que la descripción catalográfica se convierta en un canal de colaboración entre archivistas, artistas, curadores, críticos de arte, activistas, investigadores y demás profesionales, e incluso visitantes, tanto fuera como dentro del museo. Tomando como caso de estudio la categoría arte conceptual, esta investigación analiza las herramientas de vinculación social (social tagging) utilizadas por los modelos estandarizados de catalogación.

In this article, we argue the need for documentation centers in contemporary art museums to use cataloguing processes, in particular, and information management, in general, to build new audiences and to create communities of sense around their collections. The starting question is how to make catalographic description a channel for collaboration that connects all involved parties: archivists, artists, curators, art critics, activists, researchers, other related professionals, and even visitors, both inside and outside of the museum. Taking the category of conceptual art as a case study, this research analyses the effectiveness of social tagging tools used by standardized cataloguing models.

All these and many more are the questions that are offered to us for thought in Patricia LópezGay’s clear, concise, masterfully written, Ficciones de verdad. For Ficciones de verdad is a book for our times: on the negative side, the age of Kellyanne Conway’s cynical “alternative truths” and academia’s nihilistic “post-truth;” on the positive side, the age, as Nietzsche said in The Gay Science, of the death of God and the greatest freedom. Mal d’Archive is a diagnosis; whether the fever kills us or saves us, remains undecided. In the meantime, we may want to think of “archive fever” hermeneutically—as “a way of looking” (57), as Patricia López-Gay suggests.