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ISSP 2019 Publication - Photography and the World

The publication was created and launched during the International Summer School of Photography 2019 special edition "Photography and the World" in Zaļenieki, Latvia. Editorial team: Helen Korpak, Katherine October Matthews, Nico Baumgarten, Nicolas Polli, Demelza Watts. Produced in partnership with Antalis and NRJ, printed edition of 300 copies. Open source PDF downloadable at www.issp.lv (c) ISSP 2019

The publication was created and launched during the International Summer School of Photography 2019 special edition "Photography and the World" in Zaļenieki, Latvia. Editorial team: Helen Korpak, Katherine October Matthews, Nico Baumgarten, Nicolas Polli, Demelza Watts.
Produced in partnership with Antalis and NRJ, printed edition of 300 copies.
Open source PDF downloadable at www.issp.lv (c) ISSP 2019

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1 Aes<strong>the</strong>tics <strong>and</strong> Ethics<br />

• What are aes<strong>the</strong>tics<br />

in a participatory practice?<br />

• What are ethics<br />

in a participatory practice?<br />

• What is <strong>the</strong> role of aes<strong>the</strong>tics<br />

in a participatory practice?<br />

• What is <strong>the</strong> role of ethics<br />

in a participatory practice?<br />

• What does a participatory<br />

practice look like?<br />

• Who made it look like this?<br />

And how did <strong>the</strong>y<br />

make it look this way?<br />

• Does <strong>the</strong> same code of ethics<br />

apply to all participatory practices?<br />

• How are <strong>the</strong>se ethics defined?<br />

Who defines <strong>the</strong> ethics<br />

of <strong>the</strong> practice? Can <strong>the</strong>se ethics<br />

be perceived in <strong>the</strong> work?<br />

• Is it important that <strong>the</strong>y are?<br />

• Can a methodology employed<br />

an artist enable or limit <strong>the</strong> agency<br />

of <strong>the</strong> participant?<br />

• How does this methodology register<br />

in <strong>the</strong> work?<br />

• Is it possible for a participatory practice<br />

to be successful?<br />

• Can <strong>the</strong>re be a best practice for<br />

a participatory practice?<br />

• Should <strong>the</strong>re be? If so, how?<br />

• If not, why not? In ei<strong>the</strong>r case,<br />

what might this look like?<br />

• What happens when you leave?<br />

What are some of <strong>the</strong> considerations<br />

when <strong>the</strong> work is shared with<br />

audiences not involved in <strong>the</strong> creation<br />

of <strong>the</strong> work?<br />

• What ethical concerns are important<br />

when exhibiting or publishing <strong>the</strong> work?<br />

2 Process or Product?<br />

• What is most important<br />

in a participatory practice,<br />

<strong>the</strong> process or <strong>the</strong> product?<br />

• Is <strong>the</strong>re a difference?<br />

• Who is <strong>the</strong> process for?<br />

• Who is <strong>the</strong> product for?<br />

• How can an artist retain agency<br />

throughout <strong>the</strong> process of<br />

creating work? How / by what might<br />

this agency be affected?<br />

059 Why be an artist?<br />

060<br />

What do o<strong>the</strong>r artists do?

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