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More about the book

How and where do artists discuss their work? Can a score be considered readymade? Is “telecommunication” in print possible, and how does the world engage with it? Has the critique of academies, or its revival as institutional critique in the 90s, become mainstream, and what are the implications? To what extent have forms of “free” knowledge exchange or critical articulation been absorbed into academic structures, and what happens to them within these frameworks? How are these structures evolving? What occurs to artistic procedures, practices, and concepts—like the essay or poetry—during this transformation? How are they influenced by their environments? Where is the classroom situated: within or between institutions? Does it have a specific address? Is subjectivity a shared currency or merely an object presented by the text? What constitutes this object matter, and how is the work on it within the classroom described and transformed? In what ways has this work evolved, and how is it compensated? Is knowledge a shared currency, and how is it circulating? Is text akin to a bank or stock market, and who participates in this market? Is it a currency lacking material backing? What else could it represent? Is language, whether written or spoken, a structure of administration or intermediation? What other possibilities exist?