Affective Mapping beginnings
Carte du pays de Tendre 
M.me de Scudéry 1654
‘Taking Place’from salons to Gardens
A Cartography of Emotions
Archives> 858
#1 Discussion – Why this archive?
Before any of these words are put down on the work of archiving, particularly of archiving revolution, we need to start with a disclaimer: what matters, is having bodies on the street. I don’t want to fall into the trap of giving images more power than they are due. Let us not over-celebrate archives. Archiving revolt is a critical act, but it is a secondary one. First and foremost comes the revolt, taking the risk, confronting state violence, the pain of loss, the sleepless nights, and facing your own fears. Before I begin, I want to make clear that this act of archiving is not the revolution, nor can this collection be the memory of that time. It entails traces of events, particular angles and selected excerpts of a coming together, of rage, marches, chants, rocks thrown, desires enacted, screamed and spoken. Every archived moment entails the lack of a lot of others that aren’t. We could not access the torture chambers, we could not lay bare the military tribunals, nor can any archive relay the effect of years of economic policies that privileged a few at the expense of the majority, this invisible thing we call neo-colonialism that keeps re-inventing itself in the most brutal of ways. Now, in spite of all this, why the archive?
Mosireen is a volunteer media activist collective that came together to document and transmit images of the Egyptian Revolution of 2011.
The Counterrevolution Will Be Televised: Propaganda and Egyptian Television since the Revolution
Archives>Feral Atlas
Our ambitions will be fulfilled if our framework inspires new kinds of research as well as informing action and deepening debate. Rather than a completed project then, we see Feral Atlas as a door through which aspiring researchers might glimpse a path across the gap between the natural sciences and the humanities. Our gamble is that new research questions might form in this gap by thinking with the relation between feral entities and infrastructures.
An atlas is an iterative art form—a collection of perspectives that teaches us how to look at the world. Whenever we take the time to linger over the pages of an atlas, we imaginatively locate ourselves within landscapes, both known and unknown. Getting our bearings. Remembering where we have been. Imagining where we might go.
Feral Atlas has been in production between 2017 and 2020. During this period, youth environmental activism has gone through a marked explosion, responding largely to the example set by the Swedish climate activist Greta Thunberg. Informed by researchers’ predictions that the window for stalling catastrophic climate change is narrowing, Thunberg underscores that for people of her age group there is no time to wait for older generations to take the lead. She points out that to avoid the worst-case future scenarios, the time to act is now.
Archives>Harry Smith
The One and Only!
Counter culture jammer and Oncle to us all!
Messy chaotic archivist filmmaker cinematic outsider alchemist Harry Smith shuffled around with folk music animations film numbering systems anthropology ethnographies drugs magic theosophia jazz and more.
As film students we loved him and when I had to deal with the cinematography class I went straight for a B&W noir setting in which his picture taken by Allen Ginsberg was the red herring for the thriller, set in a former 90s NYC club…
Archives>Italian Cinema and Media
Essere Donne by Cecilia Mangini
Manifestazione per l’aborto a Roma 1976 by Cecilia Mangini
La Lotta non è Finita by Cecilia Mangini
Della conoscenza by Alessandra Bocchetti
Processo per Stupro on youtube
A historical documentary, first screened in TV in 1979, that shocked the public opinion. “Rape Trial” was the first open trial in Italian history, and the impact it had on viewers was resounding. Directed by a collective of Annabella Miscuglio, Rony Daopoulo, Paola De Martiis, Loredana Rotondo and first shown in April 1979, it was seen by three and a half million viewers. It was then awarded the Premio Italia, and when it was rebroadcast in October of the same year, viewers were nine million instead.
Un documentario storico, mandato in onda per la prima volta dalla Rai nel 1979, che sconvolse l’opinione pubblica. Il “Processo per stupro” fu il primo processo a porte aperte della storia italiana, e l’impatto che ebbe sugli spettatori fu eclatante. Diretto da un gruppo di donne interne alla Rai tra cui Annabella Miscuglio, Rony Daopoulo, Paola De Martiis, Loredana Rotondo e proposto per la prima volta nell’aprile del 1979, fu visto da tre milioni e mezzo di spettatori. Venne poi insignito del Premio Italia e quando venne ritrasmesso nell’ottobre dello stesso anno gli spettatori furono invece nove milioni.
Archivio Home Movies
Wu Ming su Narrazioni in pellicola
Archives>Montage Interdit
Eyal Sivan web based documentary on film the west palestine israel fascism religion race cinema images jewish arabian cultures images controversy archive montage zionism christianity zionism nazism
montage interdit
Archives>PADMA
Pad.ma – short for Public Access Digital Media Archive – is an online archive of densely text-annotated video material, primarily footage and not finished films. The entire collection is searchable and viewable online and is free to download for non-commercial use. We see Pad.ma as a non-state archive of video material, personally and politically gathered by cultural workers in the region. It is as a way of opening up a set of images, intentions and effects present in video footage, resources that conventions of video-making, editing and spectatorship have tended to suppress or leave behind. This expanded treatment leads us into lesser-known territory for video itself… beyond the finite documentary film or the online video clip.
padma grid
Afghanistan 70s fashion
Afghanistan Kabul University
Afghanistan Wedding
Case study of Muttakka a woman sheperd. Rural India. Lambani tribe.
Archives>PanAfrican Cinema Archive
June Givanni PanAfrican Cinema Archive
Curating and promoting African and African diaspora cinema and culture for over 30 years.
The development of the JGPACArchive is based on her collections from years of working in the field of cinema. Her motivation for the archive is to make this valuable heritage collection as widely accessible as possible.
Archives>Ubuweb
ubuweb (Man Ray)
Commons
Furthermore, as we have seen, in the history of the Native commons we find the best, most concrete example of a commoning use of resources realized without any private property claim or exclusionary regulations.(…) According to Allen, the value Native people placed on freedom, lack of hierarchies, and egalitarian relations has been a major source of influence on not only socialist thought in Europe and America, but especially American feminism, an influence symbolically evoked by the gathering of the first feminist conference in the United States on what had been Indian land: Seneca Falls.
It is not, thus, a pure coincidence that the first reconstruction of a territory on the continent organized on the principle of the commons was realized by Native Americans- the Zapatistas- or that the Women’s revolutionary Law is central to their constitution, establishing a broad range of women’s rights that is unprecedented in any country.
The Women’s Revolutionary Law was adopted in the 1992 at the time of the Zapatista uprising. It stipulates seven key women’s rights, including the right to participate in the revolutionary struggle, as they desire and need to, to work and receive a just salary, to decide how many children they will have and care for, to participate in the affairs of the community and hold positions of authority, if freely and democratically elected, to education, to choose their partner, and to primary attention in matters of health and nutrition. (For the text of the Law see Zapatistas! documents of the new Mexican revolution (December 31, 1993-June 12, 1994. Brooklyn:Autonomedia 1994)
from Beneath the United States, The Commons
Introduction: Why Commons?
At least since the Zapatistas took over the Zócalo in San Cristobal de las Casas on December 31, 1993 to protest legislation dissolving the ejidal lands of Mexico, the concept of ‘the commons’ has been gaining popularity among the radical left internationally and in the U.S., appearing as a basis for convergence among anarchists, Marxists, socialists, ecologists, and ecofeminists.(…) The new enclosures’ have also made visible a world of communal properties and relations that many had believed to be extinct or had not valued until threatened with privatization.
(…) In this context the idea of the common/s has offered a logical and historical alternative to both the state and the private property and the state and the market, enabling us to reject the fiction that they are mutually exclusive and exhaustive of our political possibilities.
from Feminism and the Politics of the Commons in an Era of Primitive Accumulation
As the boundaries between art’s inside and outside become less clear, meaning and authorship become more collective and distributed. In a participatory paradigm, for instance, completeness is no longer possible, desirable, or taken for granted. The artist’s role as theoretician and archivist further disrupts boundaries between art production and its documentation, and therefore does the same to the traditional hierarchies between artists, critics, and art historians.
from Elsewhere in Contemporary Art: Topologies of Artist’s Works, Writings, and Archives
Mapping>CHIMURENGA
African Cities Reader – urbanisation
Book Series/Library – research and transmission
Magazine – investigation and narration
Radio – new cartographies
La discoteque de Sarah Maldoror
Sarah Maldoror on the set of La Battaglia di Algeri
Between a scream and a lullaby
reports from Kinshasa In a city where the boundaries between life and death are laid bare, artists are birthing new spaces for dreaming ‘other ways of breathing’.
is a periodic, pop-up live radio studio; a performance and exhibition space; a research platform and living archive, as well as an ongoing, internet based radio station.
Mapping>Digitize and Preserve Video…Footage as evidence
Collaborative document created by archivist Ashley Blewer. It provides detailed lists of all the equipment needed to digitize videotapes, separated by budget level.
Minimum Viable Workstation… Recipes!
and
WITNESS Activists’ Guide to Archiving Video
+ if you have time do LOG the Footage!
It will come in handy when u want/need to retrieve it!
MAPPING>Harun Farocki
In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled “What Ought to Be Done,” followed by a survey addressed to potential collaborators and supporters.
He envisioned an institution to “organize a coalition of working people, not from an abstract understanding but from the contact points of their work.” The purpose of this institution, devoted to documentary practices, was twofold. It was “intended to collect, i.e. secure what is there,” but also “to produce, i.e. initiate what is not yet there.” In doing so, it was meant to facilitate social and collaborative processes, comprehensive and interdisciplinary studies without time pressure.
A hybrid attempt at coming to terms with a specific instance of amnesia amongst the West German left in the late 1970s/early 1980s, Harun Farocki’s 1982 feature film BEFORE YOUR EYES – VIETNAM combines ideas about the distant, image-guided participation in the war in Vietnam with speculations on Vietnam as a laboratory of advanced modes of capitalist production, whilst reflecting intensely on the dyad of love and work.
Commentary Document Material
The ABC of the Essay Film intro
In 26 short paragraphs, reacting to key terms suggested by Christa Blümlinger (from “A for Adorno” to “Z for Zidane”), Farocki explores his proximity, but also his distance to filmmakers like Chris Marker, Jean-Luc Godard, Artavazd Peleshian, or Alexander Kluge and speaks about specific operations in his films, TV programs, and installations.
Mapping>Italian counter cultures/operaismi/disobbedienze/beffe
shortly after a funky street conspiratress also appeared,
“Serpica Naro organizza laboratori, iniziative e fa ricerca sociale in particolare intorno ai concetti di proprietà intellettuale, soggettività nelle industrie creative, lavoro e precarietà nella moda. // Serpica Naro mixes theory, practice, craftism and organization for events, workshops, exhibitions in various institutions and social spaces in Italy and abroad.”
https://x.com/footage/status/173466535699021824
and suggest the following
ARCHIVES OF Archivi dei movimenti
Archives, Libraries, Documentation centres
Manifesti Femministi
Manifesti di Lotta Continua
L’orda d’oro 1968-1977
Mapping>John Giorno Poetry Systems
Classic John Giorno flair Dial-a-Poem!
in the John Giorno Poetry Systems
Last November, we went down to the County Clerk’s Office at 60 Centre Street, filled out Doing-Business-As forms and paid 7 dollars. Each clerk who stamped or put his mark on the forms said warily ‘What kind of a business is Giorno Poetry Systems?’ As we were leaving, a little old man with glasses shook our hand and said ‘Good luck on the new enterprise!’ Our lawyers are incorporating it.
(John Giorno, 1970)
and the GPS ARCHIVES>>>JOHN GIORNO COLLECTION FINDING AID pdf
Thanks for Nothing
over and over again
Palestina & Film
Filming revolution building solidarities
During the long 1960s, filmmakers across the globe developed militant cinema traditions that aspired to break the prison of the image and to transform the world. Revolutions were fought with bullets, demonstrations and strikes but also with posters, songs and films. From Chile to Vietnam by way of Palestine, this cinema was central in the creation and circulation of revolutionary and liberation imaginaries.
Palestine Film Institute
Knights of Cinema. The Story of the Palestine Film Unit
(Creation of the Palestine Film Unit chapter)
This chapter traces the development of the Palestine Film Unit (PFU) from idea to actuality, from cinematically documenting events in 1968 with a borrowed camera before having their own equipment. The cinematographers were preoccupied with how to create a revolutionary cinema using the training they had received in Egypt and London. In addition, there were visits from international filmmakers who wanted to make films about the Palestinian revolution including the American News Reel group, Italian director Luigi Perelli, and French director Jean-Luc Godard, who had similar questions as the film unit about how to make a revolutionary film. The chapter concludes with the events of Black September in 1970, resulting in the migration of the photography department and PFU from Jordan to Lebanon, with the revolution.
Knights of Cinema
ici et ailleurs by Jean Luc Godard, Anne Marie Mieville and Jean Pierre Gorin
Harun Farocki on Ici et Ailleurs
How does politics interact with the logic of images and sounds, he asks, and what does technology contribute? “Godard wants to teach how to see; in industry and military labs, machines are currently learning to do so. Pattern recognition: out of a trillion satellite photos of the Soviet Union, a device reads any pattern that looks like a missile silo and shows these to the on-duty personnel.”
Voyage as Home
A courteous occasion makes a paper show no such occasion and this makes readiness and eyesight and likeness and a stool.
A Paper in tender Buttons
Women’s travel writing
As the italian feminist critic Paola Melchiori , a passionate nomad, observes dislocation has always marked the terrain of the female traveler. Analyzing the literature of travel as a site of sexual difference, she writes: Reading women’s travel writing, one notices an absence of the past. Women who leave are not nostalgic. They desire what they have not had, and they look for it in the future. The desire does not take shape as “return” but rather as “voyage”. Nostalgia is substituted by dislocation*. Thinking as a voyageuse can trigger a relation to dwelling that is much more transitive than the fixity of oikos, and a cartography that is errant. Wandering defines this cartography, which is guided by a fundamental remapping of dwelling. A constant redrafting of sites, rather than the circularity of origin and return, ensures that spatial attachment does not become a desire to possess. In the words of Rosi Braidotti, “the nomad has a sharpened sense of territory but no possessiveness about it**”.
*Paola Melchiori, “Un sentimento senza oggetto”, Lapis no.19, September 1993, p.22
**Rosi Braidotti, Nomadic Subjects:Embodiment and Sexual Difference in Contemporary Feminist Thought, New York:Columbia University Press, 1994, pp.35-36
from Gender Nomadism: The Journey of Dwelling