CD is thinking about instrumentalisation, and how artistic practices can be used to fulfil other stakeholders’ agendas… An article entitled ‘The New Rules of Public Art…‘ by Stephen Pritchard is pretty useful in outlining some of the issues involved, for example where Pritchard discusses one artistic project which involved ‘an act of resistance complicit with the commissioners’; ‘a clear intention to use art to bring a town from the periphery to the centre’; ‘the artist’s resistance was deliberately provocative…’; ‘recognising the artist’s potential to contribute to place-making’; ‘public art as a gathering point and catalyst for change’; ‘the fleeting moment might be more valuable that the permanent, static public sculpture’; ‘a temporal community’; ‘economic systems that sustain the social order of a place’; ‘media as a distribution mechanism for a remote audience’…
CD is thinking about the word ‘Alterity’ : the state of being other or different; otherness.
…and also about ‘Subaltern’, someone with a low ranking in a social, political, or other hierarchy. It can also mean someone who has been marginalized or oppressed.
The temporal compression of digital photography practices: implications for individual and social memory – by Tim Fawns
The pre-digital production, distribution and consumption of photographs generally happened at relatively discrete and distinct moments in time. Photos w ere taken, then developed, then collected, then shown to other people, then put away in an album, box or other physical space. Now, for those with access to digital technology, these practices are being both extended and – mostly – compressed. Consumption happens immediately after production when we look at photos on the camera, disrupting established rituals of anticipation and rehearsal and enabling new processes of experimentation and re-taking. This is often quickly followed by global distribution, and a photo can be seen across the world before it is seen by people in the physical location where it was taken. Automatic functions (e.g. auto-uploading) can compress things even further by simultaneously producing and distributing.
This compression of photographic practice breaks down barriers that have historically acted as filters. A key consequence is an explosion in the number of photographs in our collections. We have difficulty finding the time to organise our photographs as traditional, memorial functions of photography are increasingly replaced by immediate, communicative ones. The resulting rapid proliferation of digital copies leads to complications of control, privacy and context.
This paper locates my own and others’ empirical research around digital photography practices within contemporary psychological theories of episodic memory. The application of these theories provides a lens through which to discuss potential implications of the temporal compression of digital photography practices for the construction of individual and social memory and identity. The aim is to give us a new way of understanding what is captured by the camera and what happens after the shutter closes.
See more at
Statelessness – that word we’ve been looking for for a long time…
“Without nationality, stateless people cannot vote and can find it difficult or impossible to gain access to healthcare, education and employment.”
“Statelessness affects more than 10 million people around the world and at least 600,000 in Europe alone. To be stateless is to not be recognized as a citizen by any state. It is a legal anomaly that often prevents people from accessing fundamental civil, political, economic, cultural and social rights.”
An Introduction to Statelessness by the United Nations High Commissioner for Refugees
The Migration, Identity, and Translation Network (MITN) at Warwick and Monash Universities.
…seeking to establish and support new research and pedagogical practices which develop the Network’s thematic areas from interdisciplinary and international perspectives.
Whilst immigration in the form of entry to the country and the status of non-UK citizens are reserved matters, there is less certainty about the degree to which immigrant policies after arrival are devolved, and which remain under the jurisdiction of Westminster.
Italians’ Count in Scotland: The 1933 Census, Recording History, by Terri Colpi
Italians’ Count in Scotland seeks to progress research into the Italian community and to offer a new paradigm for studying both the migration history and the Italian presence today. Through analysis of the Italian government 1933 Censimento, and other sources, supported by a platform of family narratives developed from author interviews with second and third generation migrants, all in their 80s and 90s, the transnational dimension of the community is revealed.
Often Italians had either been born or had lived and worked in the United States, South America or other European countries, before eventually settling in Scotland in the period 1875 to 1939, thus substantiating the premise that the community which grew up was not only part of the global Italian diaspora but that transnational aspects and dynamic mobility were, and still are, very much part of the mosaic. The strength of enduring ties with Italy, with worldwide family networks and the continuing propensity to migrate are shown to be endemic.
The book also discusses the First World War, the spatial distribution of Italians in Scotland in relation to geographical origins in Italy and the socio-economic structure and identity of the community between the wars.
Dr Terri Colpi is a British-Italian Community Specialist and Honorary Research Fellow St Andrews University.
A Seventh Man, John Berger and Jean Mohr
“It can happen,” John Berger suggests, “that a book, unlike its authors, grows younger as the years pass”, and this could be the case with A Seventh Man. First published in 1975, it is now clearly outdated in terms of its statistics and the changes that followed the collapse of the Soviet Union. But western Europe’s continued dependence on millions of migrant workers during the worst economic crisis since the second world war shows that the economic system can no longer exist without their labour. This impassioned portrait of migrant life is therefore more relevant than ever as an incisive response to eruptions of anti-immigration rhetoric. Originally envisaged as a film-documentary-cum-family-album, the book is arranged into three chapters depicting departure, work and return. Its powerful mix of facts, figures, poetry, abstract theory and photographs opens up the dehumanising experience of migration to reveal a stultifying lack of freedom at the heart of neo-liberal capitalism, which Berger bluntly recoins “economic fascism”.
A Seventh Man, John Berger and Jean Mohr
On Super-Diversity, Tariq Ramadan
One of the greatest challenges for art and culture, sounded by intellectuals and also by funding bodies, is to represent diversity. But what precisely does this term mean and why does it so often placate rather than produce what it names? Prof. Steven Vertovec, Director of the Max-Planck-Institute for the Study of Religious and Ethnic Diversity (Göttingen, Germany) puts forward the notion of “super-diversity,” noting “the need to re-evaluate conceptions and policy measures surrounding diversity by way of moving beyond an ethno-focal understanding and adopting a multidimensional approach.”
Developing this idea further, while aiming to question and complicate the focus on immigration in the current debate, the prolific and provocative scholar and activist Tariq Ramadan weighs in on the subject. In the resulting essay, translated into Dutch and Arabic, Prof. Ramadan sets out an argument that foregrounds universalism as a necessary, if de-valued, horizon and offers a critique of the uses and limits of dialogue and discourse within the day to day practice of super-diversity.
Witte de With, 30 January 2012
On Super-Diversity, Tariq Ramadan