This is the #TransActing Publication Working Group Page
Members: Sissu, Metod, Amy, Eva and Cinzia
● Foreword’ by Malcolm Quinn,
o (500 words) Establish the book’s significance relative to others, focusing specifically on the uniqueness of the #TransActing project and the book’s approach to representing it; establish why the authors of this book are well-qualified to write about this project and what makes their first-hand, practitioner-based approach interesting; establish why the book is worth reading and how it might enhance the reader’s understanding of practice- based art, design and architectural research.
● ‘General Introduction’ co-authored by Critical Practice Research Cluster (CP)—led by publication editorial team
o (1000 words) Introduce the #TransActing project and Critical Practice Research Cluster as its facilitators; discuss the group’s research trajectory and how #TransActing builds on previous research; establish the book’s rationale as part manual, part document, part critical/contextual reflection, underscoring its commitment to providing a blueprint for other large-scale, long-term and self-organised practice-research projects; highlight the book’s various texts and components to indicate what contribution they make in particular.
● Commissioned Texts variously authored by both those directly involved in the project and others who interest in #TransActing after the fact prompted them to write contextual essays related to their specific interests and areas of specialisation<br
o (500 words) ‘Introduction to the Commissioned Texts’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art) and Verina Gfader (member of Critical Practice Lectured at Goldsmiths, University of London, Department of Art): Identify key themes linking them together as well as specific points of difference between them.
o (2000 words) ‘Happy Anniversary, Critical Practice’ by Dr Marsha Bradfield (the book’s lead editor, member of Critical Practice and Visiting Scholar at Chelsea College of Art): Discuss the development of CP over its ten years of international activity, highlighting key projects in this research trajectory and how they anticipate #TransActing to trace the project’s history through the development of the cluster’s practice; draw out CP’s ethos as an open organisation that prioritises peer-to-peer exchange and informal education under the umbrella of Chelsea College of Arts as a degree-granting institution of art-and-design-based learning.
(3500 words) ‘Dialogue on Value’ (Title TBC) between Dr Verina Gfader (Lecturer at Goldsmiths, University of London, Department of Art) and Professor Andrea Phillips (PARS Professor of Art and
- TransActing project within broader research and thinking on value, exploring in particular the Market of Values as an
alternative to the art market to highlight the different value systems at stake in different
o (3200 words) ‘
o (2000 words) ‘The Artistic Economies’ (Title TBC) Dr Jakub Szreder (Independent Curator and Founder of Free/Slow University Warsaw): This essay will highlight key aspects of the economy of art as a kind of alternative or virtual economy that combines both highly formalised and more informal aspects to create a game where the (un)spoken rules can only be grasped through playing it.
￼Techniques of Aberrant Extraction: Transacting Surplus Acts in an Age of
￼Speculation’ by Emily Roasmund (artist, writer and educator. Currently, she is a
￼Commonwealth Scholar in the Art PhD program at Goldsmiths, University of London):
￼This vividly rendered essay describes the Market of Values from the perspective of a
￼piece of the alternative currency that was created for this one-day event. The currency
￼circulates through multiple stalls, highlighting the wide range of transactions comprising
￼the Market as a non-commercial trading place.
￼Head of Research at the Valand Academy, University of
￼Gothenburg): This exchange contextualises the
￼Remembering and Forgetting Consumerism’ by Professor Nicholas
￼Temple (University of Huddersfield): This rich account explores consumerism through
￼the history of markets, with specific focus on how they have served various social
￼functions from the fairs of Renaissance through to the contemporary shopping mall.
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
Tel: 44 (0)117 958 9910 / Fax: 44 (0)117 958 9911 / E-mail: firstname.lastname@example.org
o (1200 words) ‘Minor Compositions: Notes Toward a Publishing of Resonance’ Dr Stevphen Shukaitis (Senior Lecturer in Culture and Organization, University of Essex): Considers the economy of publishing as a social process of organisation that has potential to radicalise culture through open publishing.
o (2000 words) ‘Shelter and Platform’ a dialogue between Amy McDonnell (member of Critical Practice, Independent Curator and Ph.D. candidate at Chelsea College of Arts) and Eva Sajovic (member of Critical Practice and artist, photographer and educator affiliated with University of the Arts London):
o (1000 words) ‘Taking Enzo to Market’ by Dr Marsha Bradfield (the book’s lead editor) and Andreas Lang (founding member of art and architecture collective, Public Works): Told through a combination of images and captions, this highly visual essay will draw on open-source stalls designs for the Market of Values that were inspired by Italian designer, Enzo Mari and created by public works in collaboration with CP.
● (5000 words) ‘#TransActing: A Market of Values - Research Project Narrative’ (co-authored by Critical Practice): Told across
● #TransActing: The Market of Values as an Event: variously authored by those directly involved in the project; first-hand accounts of the market.
o (500 words) ‘Introduction to #TransActing: The Market of Values as an Event’ co- authored by the publication’s editorial team: Provide key information about the Market of Values, including a brief description of building the structure leading up to the event and what happened on the day; identify main themes linking the stalls together as well as specific points of difference between them.
o (21000 words) ‘Stallholder Reflections’: Each of the 60 stalls in the Market as written a 350-word description of their activity; an image accompanies each of these reflective texts.
● (3000 words) ‘Instead of a Conclusion, DIY/DIWO a The Market of Values’: This manual aims to condense prime learning from researching and realising the Market of Values into a series of steps that aim to inspire others to realise their own market. The example of an upcoming market in Deptford Market will feature here as indicative of how CP’s Market of Values can be adopted and adapted by other constituencies to explore their specific practice-based concerns.
● (5000 words) ‘Glossary of Key Terms Developed through #TransActing: A Market of Values’: Co-authored by CP and coordinated by Dr Cinzia Cremona (Wimbledon College of Arts); aims to nuance understanding of language used throughout the publication with reference to how it has come to resonate in CP’s discourse.
● (1000 words) Acknowledgements
Return to TransActing: A Market of Values
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1st August: Content from stallholders