Radical Open Access Collective
Building Horizontal Alliances
In the past, Open Access publishing has been accused of being akin to vanity publishing or self-publishing, while the term ‘predatory publishing’ describes a phenomenon in which a publisher charges expensive fees for guaranteed publication while failing to provide peer review or even basic editing.[1]
Reputable Open Access publishers clearly advertise their quality-control systems. For example at OBP we emphasise our rigorous peer-review system, as well as the high standard of our editing and production work – and this is evident in our publications, which are easy to check precisely because they are Open Access. Meanwhile the well-established publishers who produce Open Access work, such as Cambridge University Press, do not throw their quality control out of the window when they publish books or articles on an Open Access basis.[2] Continue reading "Reputation, reputation, reputation – quality control and reward systems"
When you create original work, you possess the copyright.[1] When you wish to publish that work, some publishers might ask you to sign the copyright over to them as a condition of publication, so that they can disseminate the work exclusively and therefore maximise its profitability. However, you do not have to agree to this – you can ask to retain copyright, or to transfer only a limited number of your rights to the publisher.
Pay attention to the contract the publisher is asking you to sign, make sure you understand it, and negotiate if you are unhappy with any of the terms. Be aware that signing away exclusive rights to the publisher might mean that you are not able to republish the work yourself in future, if for example you wish to republish a journal article as a chapter in a book. Continue reading "Copyright and licensing – what do I need to know?"
There’s a lot of jargon surrounding Open Access publication, and as with all jargon it can confuse and obfuscate. Here is a simple glossary: Continue reading "Green, Gold, Diamond, Black – what does it all mean?"
17 November 2018, 8 pm
Veem House for Performance
Van Diemenstraat 408-410, Amsterdam
A name.
Everybody has one.
Individuals, artists and academics from all over the world share their thoughts about the meaning and purpose of one’s name from both private and public perspectives. The problem of homonymy and other reasons for changing one’s name are explored as the film draws references from history, popular culture and individual experiences, leading us to the case of a name change that caused a stir in the small country of Slovenia and beyond.
In 2007 three artists joined the conservative Slovenian Democratic Party (SDS) and officially changed their names to that of the leader of that party, the Prime Minister of Slovenia, Janez Janša. While they renamed themselves for personal reasons, the boundaries between their lives and their art began to merge in numerous and unforeseen ways.
Signified as an artistic gesture, this particular name change provoked a wide range of interpretations in art circles both in Slovenia and abroad, as well as among journalists and the general public..
Featuring: Mladen Dolar, UBERMORGEN.COM, Eva and Franco Mattes, Antonio Caronia, Vaginal Davis, Marco Deseriis, Kristin Lucas, and many others. Cameos by Jan Fabre, Vuk Ćosić, Tim Etchells…
My name is Janez Jansa from aksioma on Vimeo.
About the artists:
For Janez Janša, Janez Janša and Janez Janša, life, artistic practice, theoretical reflection and political involvement are not divided. For over 10 years now, through their work, they have been building a complex narrative structure on topics such as proper names, identity and the signature, particularly focusing on the legal aspect of art practices and on the political imaginary in law. The central characteristic of their production is an ambivalence on multiple layers, crossing the borders of formal and media conventions.
Janez Janša is a visual artist, working in the cross section of traditional visual art practices, conceptual art and new media. In 2003 he represented Slovenia at the 50th Venice Biennial. His work has been shown in the Sao Paolo Biennial, Prague Biennial, Limerick Biennial and numerous other venues. He has been teaching at the Academy of Fine Arts and Design of the University of Ljubljana since 2009.
Janez Janša is an artist, writer, performer and director of interdisciplinary performances as well as conceptual and visual artworks. His work contains a strong critical and political dimension, and it is focused on the relation between art and social and political context. He is author of the book JAN FABRE – La Discipline du chaos, le chaos de la discipline (Armand Colin, Paris 1994) and has been editor in chief of MASKA Performing Arts Journal from 1999 to 2006. He is the director of Maska Institute for Publishing, Production and Education based in Ljubljana, Slovenia and has has been teaching at the Academy of Theatre, Radio, Film and Television of the University of Ljubljana since 2016.
Janez Janša is a conceptual artist, performer and producer living in Ljubljana, Slovenia. He is the author of numerous videos, performances, installations and new media works which have been presented in several exhibitions and festivals around the world. He is the director of the film My Name Is Janez Janša, co-founder and co-director of Aksioma – Institute for Contemporary Art, Ljubljana (together with Marcela Okretič) and artistic director of the Aksioma | Project Space. He has been teaching at the Academy of Fine Arts and Design of the University of Ljubljana since 2016.
Focusing on how such technologies impact identity and citizenship, digital labour and finance, the project joins five experienced partners Aksioma (SI), Drugo More (HR), Furtherfield (UK), Institute of Network Cultures (NL), and NeMe (CY) together with a range of artists, curators, theorists and audiences. State Machines insists on the need for new forms of expression and new artistic practices to address the most urgent questions of our time, and seeks to educate and empower the digital subjects of today to become active, engaged, and effective digital citizens of tomorrow.
This project has been funded with the support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
