Allen, Jamie
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What Do Proposals Propose? What Do Projects Project?
I submit to you, dear reader, a proposal: for the length of this essay, we՚ll think together about proposals, in relation to projects. I՚ll write out some ideas and, if you like, you can have a read through them, entirely at your own pace. We՚ll look at the idea and category of grey literature, a bit of critical history of the proposal–project and end with a further proposal: a way of thinking about the much maligned, common practice of proposal writing as a creative practice. A creative practice, no less, that potentiates means of rewriting, rethinking and recomposing knowledge practices, and the probable futures these can create.
The Forbidden, the Doubtful and the Moral. What Could be Known but Isn't
While it is difficult enough to develop what has been termed “negative knowledge”, that is, knowledge about the limits of knowledge (Karin Knorr-Cetina), also later in the process it continues to be a challenge to understand how to deal with these identified fields of non-knowledge. This panel will deal with such known unknowns, and present experimental methods of investigation as well as the resulting question related to the responsibility for not-knowing in moral and ethical terms: While Joanna Kempner will present her exploration and work within the territories of “forbidden knowledge” in medical science research, Jamie Allen will give insight into his artistic work and research related to “apocryphal technologies” as examples for ignorance through the false believe of being knowledgable. The ethical questions related to these and other forms of willful (that is, motivated, affected, or strategic) forms of ignorance, to what can and should have already been known, will be presented by Jan Willem Wieland. Taking new forms of slavery and our so-called slavery-footprint as an example, he will discuss the question of whether people who are willfully ignorant can be held responsible for it.
Unmaking. Against General Applicability
As belief in the applicability and efficacy of DIY production, open-source, and method sharing has broadened to include institutional hackathons and open-data-fueled and civic 'maker weekends', taking stock and articulating how certain approaches 'work' or 'do not work' within maker culture – and for progressive and expansive creator cultures more generally – continues to be essential. 'Making' is a key concept that frames a host of more specific practices, lending characteristic manual/moral, communal/communicational, aesthetic/ethical, and enacted/ economic inflections and values. Even simple historical, traditional, technological, or digital acts of object and media creation, of art and design, but also of writing and thinking itself, can be recast as 'making'. What is it that happens to the thinking and doing of such activities, when such recasting is desired, chosen, projected, enforced, or assumed?
Media Labs – Medienlabore als gestalterische Experimentier- und Forschungsräume
The contribution deals with ongoing research projects and methods being employed at the Academy of Art and Design’s Critical Media Lab and puts them into the context of current Media-Lab discussions such as the recently launched initiative “What’s a Media Lab” by Darren Wershler, Jussi Parikka and Lori Emerson, or the recently published book “New Laboratories” (De Gruyter 2016) by Charlotte Klonk of the BWG Cluster of Excellence in Berlin. These discourses at the interface of scholarly, scientific-technical and, above all, artistic research, focus, on the one hand, on situated practices and methods of experimentation and, on the other, address the hybridization and problematization of disciplinary and institutional knowledge and production spaces.