Ten Two Zero Zero Five

ten two zero zero five is a collection of eclectic writings that are embedded within sites of specificity as defined by their subject matter. These reveal a range of contemporary cultural practices, getting to the root of the form, and how this translates to audiences for viewing, for entertaining, for contemplation and for interaction. They implicitly challenge and reinterpret physical, conceptual, virtual, and structural ‘space’; they touch on the past, bring us into the present, and open up dialogue for the future.

In One-to-one, One-to-many and Few-to-few Communication, William Davies provides a general overview of the history of the communication technologies and distributions systems that have become the framework for how users have redefined open, closed and networked systems. Maria Fusco, in Thinking Machines v The Big Swap, looks at mass production and distribution of the artists’ book, versus the new methodologies created through non-representative contemporary visual arts publishing. Adam Sutherland in I, Wannabe charts the empathetic relationship between contemporary art and popular music. Live- and event-based art, in Sally O’Reilly’s Performativity, is associated with durational or temporal specificity with a history that is scattered and ephemeral evolving along disconnected and often contradictory lines of enquiry and development. In The Campaign, Sacha Craddock suggests that all art production takes on the guise of campaign and, through definition, some practices will diminish and retreat through familiarity. However the changing expectations of place and function will mean a perpetual and permanent hunt for alternative modes of presentation and engagement. Re-engagement, in terms of the dissemination of architectural ideas and of the idea of architect as creator, is critiqued through the legacy of modernism and utopia, and is explored in Mother of all Arts by Rob Wilson.