Bibliography from The Books That Shaped Art History (Shone and Stonard, eds. 2013.)

This post is preliminary to a more in-depth review of the following Shone, Richard and John Paul Stonard, eds. 2013. The Books That Shaped Art History: From Gombrich and Greenberg to Alpers and Krauss. Thames and Hudson.


Titles

Shone and Stonard present 16 articles on what they feel are key texts in the history of art history, tracing key trends in the movement towards the emergence of visual culture. In order, these 16 monographs are:

  1. Mâle, Emile. 1898. L’art religieux du XIIIe siècle en France. [In English, 1978. Religious Art in France: the Twelfth Century: a Study of the Origins of Medieval Iconography. Princeton UP.]
  2. Berenson, Bernard. 1903. The Drawings of Florentine Painters Classified, Criticised and Studied as Documents in the History and Appreciation of Tuscan Art. 2 vols. New York: Dutton.
  3. Wölfflin, Heinrich. 1915. Kunstgeschichtliche Grundbegriffe: Das Problem der Stilentwicklung in der neuren Kunst. [In English, 1932. Principles of Art History. Dover.]
  4. Fry, Roger. 1927. Cézanne: A Study of his Development.
  5. Pevsner, Nikolaus. 1936. Pioneers of the Modern Movement from William Morris to Walter Gropius. [Later commonly republished as Pioneers of Modern Design: From William Morris to Walter Gropius.]
  6. Barr, Alfred H., Jr. 1951. Matisse: His Art and His Public.
  7. Panofsky, Erwin. 1953. Early Netherlandish Painting: Its Origins and Character.
  8. Clark, Kenneth. 1956. The Nude: A Study of Ideal Art.
  9. Gombrich, E. H. 1960. Art and Illusion: A Study in the Psychology of Pictorial Representation.
  10. Greenberg, Clement. 1961. Art and Culture: Critical Essays.
  11. Haskell, Francis. 1963. Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque. Alfred N. Knopf.
  12. Baxandall, Michael. 1972. Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. Clarendon Press.
  13. Clark, T. J. 1973. Image of the People: Gustave Courbet and the 1848 Revolution.
  14. Alpers, Svetlana. 1983. The Art of Describing: Dutch Art in the Seventeenth Century. U Chicago.
  15. Krauss, Rosalind E. 1985. The Originality of the Avant-Garde and Other Modernist Myths. MIT Press.
  16. Belting, Hans. 1990. Bild und Kult: eine Geschichte des Bildes vor dem Zeitalter der Kunst. [In English, 1994. Likeness and Presence: A History of the Image Before the Era of Art. U Chicago.]

“Runners-up”

In the Introduction, Stonard suggests there are several additional monographs which they might have addressed instead, but chose not to for various reasons. These are:

Notable Omissions

Despite mentioning some of these names, the editors seemed disinterested in considering the following as either significant or influential to the field (I am certain there are others):

  • Berger, John.
  • Danto, Arthur C.
  • Hauser, Arnold.
  • Lippard, Lucy R.
  • Morris, William.
  • Read, Herbert.
  • Rosler, Martha.
  • Ruskin, John.

TDSB: External Research Applications and Guidelines (link)

Guidelines and application forms for researchers external to the TDSB can be found at this link: http://www.tdsb.on.ca/AboutUs/Research/ExternalResearchApplication.aspx

The approval seems generally about research proposed in schools, with students, during day classes. It also seems to apply to externally funded candidates, but it isn’t clear how proposals from independent researchers might be viewed and handled.

There’s no real sense of whether and to what degree applications are approved or declined, nor what support is provided to assist researchers in amending declined apps. Indeed, the requisite nine collated copies of the five-page application form seems to suggest a discontiguous system in which such assistance is not forthcoming.

Assessing academic writing: the Journal of Peer Production

JoPP, ISSN: 2213-5316

I recently came across the Journal of Peer Production, an online, open source journal concerned with “commons-based and oriented production in which participation is voluntary and predicated on the self-selection of tasks” — or, as their site’s subtitle puts it, “New perspectives on the implications of peer production for social change” [JoPPnd].

Besides the mission of the journal, they have a refreshing take on peer review, that seemingly pan-academic gold standard of professional scholarly production. First, they are critical on their Peer Review Process page of the current system where, they claim, “journals that reject more attract more.” Such a logic, they argue, citing several sources, risks perpetuating a tendency towards safe, rather than novel, ideas. This process page is largely a way of succinctly pulling that logic apart, all while proposing an alternative. Well worth a read.

Secondly, the journal’s editors provide some criteria to support their take on the peer review process. Such a rubric — what they call “signals” — provides a useful frame for standardizing the type of feedback an author should expect to receive. At the same time, it allows for a great deal of latitude so that responses (presumably) resist becoming mechanical.

At four issues and counting, it’s certainly worth a look — if for no other reason than their citation standard (I’ve adopted it here) is refreshingly minimal, especially for an audience that, one presumes, would be reading largely online.

References

[JoPPnd] J of Peer Production (Undated) “Peer Review: Process”, accessed 12 August 2013.

Emerging Research: Anthropology of the Contemporary Research Collaboratory (ARC)

The rather lengthy-titled Anthropology of the Contemporary Research Collaboratory — or ARC for short — is an initiative of Paul Rabinow and other scholars of Foucault, biopower, etc. to develop a standards-oriented, collaborative research practice that adopts (and adapts) the model of laboratory common to health and natural sciences for human and social scientific purposes. As they write:

[W]e wanted to explore a model of academic production that would include individual work but that would also recognize the centrality of – and create organizational space for – serious collaborative work. By collaboration we have in mind two different kinds of work: first, the joint production of papers and research; and second, concept development, collective reflection, and shared standards of evaluation. (Collier, Stephen, Andrew Lakoff, and Paul Rabinow. “What is a Laboratory in the Human Sciences?” ARC Working Paper, No. 1, February 2, 2006.)

As a result the group, which includes other academics and graduate students, has published a series of papers — “Concept Notes” and “Working Papers” at the present — on the group’s website, http://www.anthropos-lab.net. In the spirit of their endeavour, they have released these resources for free under a Creative Commons Attribution 3.0 license.

As follows the CC motto here, share alike!

NIIPA: Native Indian/Inuit Photographers’ Association

NIIPA LogoNIIPA, the Native Indian/Inuit Photographers’ Association, was an educational and support network incorporated in 1985 and designed to “encourage as well as promote the usage of photography as a medium of the fine arts.” Although NIIPA’s website, creative-spirit.com, went inactive in 2003, the site’s dozen or so pages — including a detailed, eight-page history of the organization — can be accessed via the Internet Archive’s Wayback Machine; the last, pre-expiry capture of the homepage is dated December 5, 2003 and can be accessed here (link opens in a new window): http://web.archive.org/web/20031205022916/http://www.creative-spirit.com/default.htm

Forms and Texts of a Socially Engaged Art: A History of Groups, Materials, Forms, and Ideas (in progress)

Last updated: Saturday Aug. 3, 2013


Undated; and Organizational & Project Websites (Selected; for a fuller, more comprehensive listing, visit: https://artbridges.wordpress.com/a-growing-community/)
ArtBridges
Arts for Children and Youth (AFCY)
Broken City Lab: Artist Collective & Civic Space. “About Broken City Lab.” Accessed August 3, 2013. http://www.brokencitylab.org/about/.
Cabbage Town Community Arts Centre (CCAC)
Center for Digital Storytelling. “About Us.” Accessed August 3, 2013. http://storycenter.org/about-us/.
Community-Based Research Canada / Recherche partenariale du Canada. “Who We Are.” Accessed August 3, 2013. http://communityresearchcanada.ca/?action=who_are_we.
Greetings From Motherland. “New Workshops!” Last modified December 17, 2012. http://www.greetingsfrommotherland.com/blog/.
Hemispheric Institute of Performance and Politics / Instituto Hemisphérico de Performance & Política. “Mission.” Accessed August 3, 2013. http://hemisphericinstitute.org/hemi/en/mission.
Jumblies. “About us.” Accessed August 3, 2013. http://www.jumbliestheatre.org/us/index.html.
Literacy Through Photography. “What is the LTP Blog?” Accessed August 3, 2013. http://literacythroughphotography.wordpress.com/what-is-the-ltp-blog/.
MABELLEarts. “About.” Accessed August 3, 2013. http://mabellearts.ca/about/.
Making Room Community Arts. “About us.” Accessed August 3, 2013. http://making-room.org/about-us/.
Mural Routes. “About Us.” Accessed August 3, 2013. http://www.muralroutes.com/aboutus.htm.
Myths and Mirrors Community Arts
Neighbourhood Arts Network
Project Row Houses. “About Project Row Houses.” Accessed August 3, 2013. http://projectrowhouses.org/about/.
Regent Park Focus Youth Media Arts Centre. “About Us.” Accessed August 3, 2013. http://www.regentparkfocus.com/content/aboutus.html.
Shadowlands
Sketch
Take Me With You. “About.” Last modified April 22, 2011. http://www.takemewithyou.ca/?page_id=2.
Whippersnapper Gallery. “About.” Accessed August 3, 2013. http://whippersnapper.ca/?page_id=7.
Workers Arts and Heritage Centre. “About WAHC.” Accessed August 3, 2013. http://www.wahc-museum.ca/about.php.

Defunct Organizations
Community Arts Network (CAN). Active July 1999-April 2010. http://www.apionline.org/.
Community Arts Ontario (CAO). 1990-October 2012. http://artbridges.wordpress.com/2012/10/22/news-community-arts-ontario-suspends-operations/.
Native Indian/Inuit Photographers’ Association (NIIPA). 1980s-1990s (?) http://web.archive.org/web/20031205022916/http://www.creative-spirit.com/default.htm.
Neighborhood Arts Programs National Organizing Committee (NAPNOC). 1970s-1990s (?)

2013
Finkelpearl, T. 2013. What We Made: Conversations on Art and Social Cooperation. Durham: Duke UP.
Goldbard, A. 2013. The Culture of Possibility: Art, Artists & The Future. Waterlight Press.
Goldbard, A. 2013. The Wave. Waterlight Press.

2012
Bishop, C. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.
Calo, C. G. 2012. “From Theory to Practice: Review of the Literature on Dialogic Art,” Public Art Dialogue 2.1: 64-78.
Dávila, A. 2012. Culture Works: Space, Value, and Mobility Across the Neoliberal Americas. New York: New York UP.
Thompson, N. 2012. Living as Form: Socially Engaged Art from 1991-2011. Cambridge: MIT Press.

2011
Barndt, D., ed. 2011. ¡Viva! Community Arts and Popular Education in the Americas. Toronto: Between the Lines.
Crehan, K. 2011. Community Art: An Anthropological Perspective. Oxford: Berg.
Helguera, P. 2011. Education for Socially Engaged Art: A Materials and Techniques Handbook. New York: Jorge Pinto Books.
Jackson, S. 2011. Social Works: Performing Art, Supporting Publics. New York: Routledge.
Kester, G. 2011. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke UP.
Shollette, G. 2011. Dark Matter: Art and Politics in the Age of Enterprise Culture. London: Pluto Press.

2010
Burns, L. and J. Frost. 2010. Arts-Informed Evaluation: a Creative Approach to Assessing Community Arts Practices. Big Tancook Island: Backalong Books.
Howley, K., ed. 2010. Understanding Community Media. Los Angeles: SAGE.
Kulick, R. 2010. “Youth Empowering Youth: Collective Processes in Making Independent Media.” PhD diss., Brandeis.

2009
Lambert, J. 2009. Digital Storytelling. 3rd ed. Berkeley: Digital Diner Press.

2008
Condé, C. and K. Beveridge. 2008. Condé and Beveridge: Class Works. Halifax: NSCAD Press.

2007
Bradley, W. and C. Esche, eds. 2007. Art and Social Change: A Critical Reader. London: Tate.
Clover, D. 2007. “Feminist aesthetic practice of community development: the case of Myths and Mirrors Community Arts,” Community Development Journal 42.4: 512-22.
Diamond, D. 2007. Theatre for Living: The art and science of community-based dialogue. Victoria: Trafford Publishing.

2006
Ashford, D., W. Ewald, N. Felshin, and P. C. Phillips. 2006. “A Conversation on Social Collaboration,” Art Journal 65.2: 58-82.
Goldbard, A. 2006. New Creative Community: The Art of Cultural Development. New Village Press.
Howard, R. 2006. “The Cultural Equivalent of Daycare Workers?” Dramatic Action: Community Engaged Theatre in Canada & Beyond. Toronto. January 5. http://communityengagedtheatre.ca/Ruth_Howard%20article_lo.pdf.
Kuppers, P. 2006. “Community Arts and Practices.” Culture Machine 8. Accessed August 3, 2013, http://www.culturemachine.net/index.php/cm/article/view/45/53.

2005
Graves, J. B. 2005. Cultural Democracy: The Arts, Community, and the Public Purpose. Urbana: University of Illinois Press.
Howley, K. 2005. Community Media: People, Places, and Communication Technologies. Cambridge: Cambridge University Press.

2004
Burnham, L. F., S. Durland, and M. G. Ewell. 2004. “The CAN Report: The State of the Field of Community Cultural Development: Something New Emerges: A Report from the Community Arts Network Gathering, May 2004.” Saxapahaw: Art in the Public Interest.
Kester, G. 2004. Conversation Pieces: Community and Communication in Modern Art. Berkeley: U California Press.

2003
Goldbard, A. 2003. “When (Art) Worlds Collide: Institutionalizing the Alternatives,” in Alternative Art New York, 1965-1985, edited by J. Ault, 183-200. Minneapolis: U Minnesota Press.

2002
Adams, D. and A. Goldbard, eds. 2002. Community, Culture and Globalization. New York: Rockefeller Foundation.
Bourriaud, N. 2002 (1998). Relational Aesthetics. Dijon: Les presses du réel.
Halleck, D. 2002. Hand-Held Visions: the Impossible Possibilities of Community Media. New York: Fordham University Press.
Kwon, M. 2002. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press.
Lerman, L. 2002. “Art and Community: Feeding the Artist, Feeding the Art.” In Community, Culture and Globalization, edited by D. Adams and A. Goldbard, 51–69. New York: The Rockefeller Foundation.

2001
Ford-Smith, H. and S. Methot. 2001. No Frame Around It: Process and Outcome of the a Space Community Art Biennale. Edited by Melanie Fernandez. Toronto: A Space Gallery.

2000

1999
Alberro, A. and B. Stimson, eds. 1999. Conceptual Art: A Critical Anthology. Cambridge: MIT Press.
Braden, S. and M. Mayo. 1999. “Culture, Community Development and Representation.” Community Development Journal 34.3: 191–204.

1995
Felshin, N., ed. 1995. But is it Art? The Spirit of Art as Activism. San Francisco: Bay Press.
Lacy, S., ed. 1995. Mapping the Terrain: New Genre Public Art. San Francisco: Bay Press.

1986
Bezencenet, S. and P. Corrigan, eds. 1986. Photographic Practices: Towards a Different Image. London: Comedia.

1984
Greene, M. 1984. “The Art of Being Present: Educating for Aesthetic Encounters,” Journal of Education 166.2: 123–135.
Kelly, O. 1984. Community, Art and the State: Storming the Citadels. London: Comedia.

1983
Braden, S. 1983. Committing Photography. London: Pluto Press.

1978
Braden, S. 1978. Artists and People. London: Routledge & Kegan Paul.

1974
Kaprow, A. 1974. “The Education of the Un-Artist, Part III,” Art in America 62.1: 85-91.

1972
Kaprow, A. 1972. “The Education of the Un-Artist, Part II,” Art News 71.3: 34-39.

1971
Kaprow, A. 1971. “The Education of the Un-Artist,” Art News 69.10: 28-31.
Link

Geeking out: bibliography formatting in word with papers2

Geeking out: bibliography formatting in word with papers2

please allow me to geek out a bit. 

several years back, i came across tools to help write my dissertation: some for the iPad (for annotating pdfs and organizing preliminary ideas), some for the desktop (for writing/editing, and for bibliographic management), and some for “real life” (work/life balance, etc.). while i have adopted only some tools and practices, others have been crucial at early stages but not so much later, and vice versa. 

i bought papers2 and scrivener at roughly the same time to manage my resources and coordinate all the writing for my dissertation, respectively. while scrivener was a no-brainer, papers2 was my choice after a bit of a test drive: zotero, sente, mendeley, refworks, endnote, and evernote didn’t fit the bill at the time, for one reason or another. 

one of the main reasons i got papers2 is because it didn’t seem to fuss around with citations inserted into scrivener – although i didn’t really need to worry about that at the time, i did want to make sure that the library i had developed (thousands of references in print and pdf) wouldn’t need to be completely scrapped when it came time to formatting all my inline citations and bibliography (which could be well into the hundreds).

when you call it from scrivener, papers2 inserts one or more references roughly in the format of …

{Smith:1997tu}

… with curly braces on either side of a unique identifier for the item in your papers2 library. if you leave it like that, it’ll generate an inline citation, footnote, or endnote (depending on the format) with all the nuances of that style (Chicago, APA, MLA, among many others). 

however, and as the link attached to this post demonstrates, you can modify the stuff within the curly braces in a whole bunch of ways – by adding page numbers, for example, suppressing the author name (so only the year of publication shows up), or including parenthetical comments alongside the reference (like “also see Smith 1997”). 

i know it’s pretty geeky, but it also saves time and worry at the end of the process of writing a long and difficult manuscript to not have to then format a possibly 20+ page of references (let alone fuss over all the inline stuff within the text).

open fonts

i like free fonts; unfortunately, the vast majority are really horrifying. they’re either largely unusable handwriting fonts, or they’re schlocky themed fonts – like blood-dripping Hallowe’en fonts. Blech. In any case, equally unusable.

i guess what i actually like is open source fonts – those that have been developed by teams for use in a variety of circumstances (and technological platforms). here are a few:

Adobe Source [sans serif, and fixed width]

Courier Prime [fixed width]

Deja Vu [serif, sans serif, and fixed width]

also likely some gems hidden amongst the novelty fonts at Google web fonts (make sure you have your browser set to display them!)

and a listing of several free fonts used by what’s-his-name over at The Oatmeal (Matthew Inman)

These aren’t my favourite fonts to use, but they’re good for many, many purposes, and they look really good. If you really want to get pornographic about type, you’d probably want to visit the St. Bride Printing Library in London, or at least get your grubby paws on the pages of Robert Bringhurst’s “The Elements of Typographic Style.” Either way, I will not judge.

beers my son has chosen for me: a review

i like beer in moderation. my three year old son has realized this – at least the former part – and, as a result, has suggested we visit the beer store at inopportune moments. like, in front of the neighbours. at 8am. on a weekday. (his enthusiasm should not be conflated with a drinking problem: i have only about 2-3 beers per week. they make me too sleepy to enjoy them more often.)

in more helpful moments, Hollis has helped me choose beers i would not normally drink. for example, he likes the way the cans look, so whenever we pass by an lcbo or beer store, he insists we go in and choose a couple nice ones to bring home. although his choice is superficial – his single criterion is what’s on the label – his insistence has resulted in some decent beers. (strangely enough, he’s avoided the wheat beers, the fruitiness of which i detest.) this post is a record of several of those choices.

rolling rock: a “extra” pale ale from st. louis. really nice, actually. smooth. green and white label with some blue. picture of a horse.

kozel: a Czech style lager. another great choice. picture of a goat, possibly holding a beer between its front hooves.

stiegl: apparently a pilsner! tastes much smoother. one of my faves. simple design features red lettering on a cream background – no animal.

holsten festbock (or maybe maibock): for a strong beer (7%!) this is pretty smooth. can is green with a horse and knight and a red shield. another good choice

lowenbrau: good, though not a favourite. a robin’s egg blue, with gold, and a griffin in the seal!

pilsner urquell: not my cup of tea, though i think this is one i chose, and not Hollis. so my fault, and i will assume full responsibility.

i will update this list as more choices are made available to me. in the meantime, thanks, my son!

thinking about process, pt. 1

i drafted this for another blog shared by colleagues of a writing group of which i am part. i thought i’d post it here as well, as i feel discussion of such matters typically fails to take place. i acknowledge this lives in a kind of internet backwater; nevertheless, i hope it reaches some eyes and minds willing to consider or critique its implications.

-k

Notes on Process

I also thought I’d use this post to begin a discussion on process. I’ll focus on two aspects of my current work: reviewing the “literature” and transitioning from fieldwork to analysis, coding, and interpretation. (I may put the transitioning bits in a subsequent, “part 2,” post.)

“Literature” 1 – Tools

I have a paper and digital library at home. For my paper library, I use 1/2″ post-it flags, which are partially translucent, to mark key passages in my books. I don’t use a colour-coding scheme, though I tend to use the red flags for Marx, Benjamin, and so on. I can’t stand marking in pen or pencil or highlighter – I’ve tried, but I always find it distracting (except on the iPad – see below). For me, the flags indicate what I need to go back to at a later stage, a discrete temporal point from the act of reading (which I try to do quickly to retain the flow of the argument being made).

I like to scan photocopies, and occasionally books, and convert them to PDF to transfer to the iPad. I use Vuescan to scan everything into 1-bit TIFF files at 300 dpi, which I stitch together using Acrobat Pro. (The 1-bit means that everything is either black text or white pixels/paper – no greyscale, and no colour – both for readability, and for file-size.) I also OCR everything, which converts images into roughly usable text that I can cut-and-paste into other programs, like Scrivener (see below). I say roughly usable text, because it really depends on the quality of the scan and the original printing. Sometimes ‘l’s turn into ‘1’s, other times capital ‘O’s become numeral ‘0’s, and vice versa, and so on. Still, even if I have to massage a long quote taken from an OCR-ed image, it’s really much better than typing it in by hand.

Finally, when I have a PDF, I store it in an archive managed by an annotation app called Mendeley. I think Mendeley is a lot like other programs – like Refworks, Zotero, Papers 2, etc. – so I won’t get all snooty about it – it’s cludgy at times, but generally pretty good for me. I like it because it keeps my files visible in/on the harddrive rather than in some strange and hidden folder (so I can use Finder on the Mac to locate a file), and because it auto-magically renames files to something readable, like “Bennett_2003_Culture and Governmentality.pdf” rather than “0857364783.pdf” AND puts it into a folder where I can easily find it, like “Archive/Bennett/Bennett_2003…pdf”.

This organization is great for how I use my iPad. I CANNOT read PDFs on my desktop, nor on Hien’s laptop. There’s something about the iPad – and, I’m guessing, any tablet – that makes it far less of a chore – and even a bit of a pleasure – with which to read from a screen. Maybe it’s the size and format (I read fullscreen in portrait mode, while most LCDs are landscape), or the touch screen rather than mouse and keyboard interface. In any case, I use a program called iAnnotate to transfer PDFs to the iPad, as well as to read and mark them up then automatically sync them back to the archive on the computer when I’m done. Again, I think other readers, like Papers, Goodreader, and so on, would do the job equally well, but I just landed on iAnnotate, and it does the trick.

I should add that in iAnnotate I DO highlight text. I think the reason for this is that it’s such a quick process on a touch screen, and obviously far less permanent than in a book. The other main reason is that when I highlight, the text of what was highlighted gets added to the highlight as a note (Acrobat does this too, but not by default, if I remember correctly.)

Before I talk about Scrivener and iA Writer, my main writing apps, I’ll mention Bento. Bento is a kind of multipurpose database that I use to keep track of what I want to read next, why I need to read it, and where/how it fits into what I’ve already read. I also use it for keeping track of interviews, and for miscellaneous diss. and non-diss stuff (I store recipes there, too). It’s a kind of Excel or Filemaker Pro, spreadsheet database, except a little more visually appealing and technically simpler.

I use Scrivener to store practically everything that’s text-based: from writing snippets to drafts, conference presentations, proposals, and all documents (except literature and media and email) related to my dissertation. Notes I make in Bento, and quotes I pull from books or iAnnotate eventually make their way into Scrivener, for example. I’m still figuring out how to arrange stuff – e.g. using the binder view and/vs. the “collections” view, using keywords, etc. – but it’s the big depository in any event.

I also use it to write when I’m at home; however, when I’m out, I use a simple writing app called iA Writer. I find this works to cut out distraction, and help me just focus on writing, which I can often but not always do in Scrivener. Again, there are other apps like Writer (not, in my experience, like Scrivener, however), but Writer seems to do the trick for me.

Finally, I have a backup drive using Time Machine, and my Scrivener project file is – for better or worse – sitting on Dropbox. Call me paranoid, but I want to make sure nothing irretrievable happens to that cluster of data.

Literature 2 – Process

OK, enough about that. Now to talk about what I do, rather than about what technology I use to support this process.

First, when I read, I’m looking for a few things. Direct relevance to the matter at hand, for one. While I would love to read E.P. Thompson on William Morris, it’s probably better for me to read Liam Kane, Grant Kester, and Arlene Goldbard. Even when I read these, I do so selectively (e.g. Goldbard on policy), rather than comprehensively. This may be treacherous on two counts – Am I reading the right/best things? Am I missing something important or crucial? – but I resolve this (in my mind at least) by treating reading as an iterative process. To put it one way, I always feel I’m in an act of re-reading rather than reading; that is, in a process of returning to a text rather than coming at it anew (chances are anyway that I’ve heard about it somewhere before, which is why I’m reading it anyway). To put it another way, I always feel I could do a still closer read – there’s always something I’ll miss or downplay the importance of, whether due to negligence or necessity. I don’t like to get bunged up in the process, in short – the purists among us can cluck their tongues all they want.

Secondly, I read for definitions (including problematizations and contestations of definitions), and wayfinders. By the latter I mean statements like “In this essay, I intend to argue that…” – statements that help clarify intention and direction – but also typesetting conventions like paragraph and section headers (it drives me crazy when authors use opaque numerals, roman or otherwise: “I.,” “VI.” – erg!) Good definitions and wayfinders are often useful quotes, I’m sure it’s obvious to state, since they are also condensations of thought and analysis, and constitute a text’s most accessible points of encounter (for critique or otherwise).

Thirdly, I read for imagery. This is when my claim to “direct relevance” breaks down, because I might find something by George Orwell or John Berger that’s far more evocative than in an analysis of Richard Florida by Graeme Evans. Needless to say, the reading will change as my notion of “directly relevant” changes at varying stages. In addition, I try to remain open to whatever I read, and try to strike a balance between the possibility that everything is potentially emblematic of the neoliberal, biopolitical, commodity-culture, (etc., etc.) context from which the dissertation springs, yet only a select few of these is really capable of speaking to and with the substance of the dissertation (the rest being far more spurious).

OK – I’d appreciate comments and criticisms of this – I get the sense I’m not the only one who likes to “talk shop” like this. (In the meantime, I’ll get cracking on part 2.)