**** Amateur Community ****

As a instrument of unification

Amateur Work Days

2020-03-16


The Amateur Work Call, released late May 2019 on the Internet, was a call for any work that could take place in 7 days (later increased to eleven days) in various Rooberoo Mansion environments including platform, courtyard, backyard and etc.

In part of the invitation reads: “Amateur insists that there is nothing self-evident in today’s self-evident world. But today’s neo-liberal world insists on making its paths self-evident: There Is No Alternative.

But why don’t we think in the moment to recreate the Situations? The situations whose driving force is their destruction.

Amateur is a pre-Medium definition. Something that is rooted in our biological behavior before the formation of the media. Amateur work in his life, his concern, not in his medium of work. The status of the amateur is fluent, continuous, and works to disrupt the artist-audience-causal relationship. Amateurs try to reach audience-audience status.

In amateur work, not every place is for one person and there may be someone building something in the place where you’re creating another situation. So be aware of not owning any place for these few days.
You’re working in collaborative environment.
The issue is the process of producing the states, not the states themselves. So things can change for everyone. We can share the processes of creating situations with everyone, whether through dialogue or text, but we do not own it.

Since there is no status owner, in the days of amateur work, there will be no name of the status maker in the environment. Everyone can take responsibilities for different situations.
No ideas will be reviewed, rejected or endorsed. But everyone can (and we think should) criticize or extend the situation.”

This invitation asked people to come to these sites in the next few days without any prior notice, to participate in and build their own situations. Of course, people could submit questions or check their needed equipment with the Rooberoo mansion’s personnel’s through an email address.

From July 22th to June 02th, 2019, In Rooberoo Mansion the days of Amateur work was occurred. In the first four days, the participation was very limited, but by day five, more participation had taken place, and various situations had evolved. This partnership was very limited in relation to the initial expectation and with almost no restrictions on work.

 The overall conclusion report after the days of amateur work said:
“We found that bidding alone was not enough and with the theoretical proposal, a practical proposal is needed which is the action itself. We should give biddings with working and making an atmosphere. Though small and incomplete, must have in its essence act as schizophrenic while being truthful and transparent; humans, the very people we passively label (passively depicting ourselves) The process of working, collaborating, and constructing their own space may be:
If the space is created,

1.People will participate, observe, ask questions.

2.Enter partnerships in positions. Talk and work.

3.And then, perhaps, their own work creates their own position and creates new space there.”

 


Amir

2020-03-16


Amir was a 5-day event occurring in the basement of the Rooberoo Mansion from December 24th to December 27th, 2018.

The chamber was a 9 meters square and its entrance was closed with glass and only half a meter below was open. In the center of the room was a pylon strip bar, and also the chamber contained the personal belongings needed for Amir’s life. This was Amir’s life in these 5 days. In the courtyard was a monitor that played live camera footage inside the room.

During these 5 days, Amir would do his personal work, eat, defecation, read books, watch movies, and sleep. But as he felt any spectator’s presence he began to dance using the bar. If the audience wanted to see Amir in any other state besides dancing, they had to look through the monitor.

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Live Coverage

2018-11-30


Live Coverage was performed by Amateur Community from November 23th 2018 to March 29th 2019 in the basement and some part of the courtyard of the Rooberoo Mansion in Tehran, Iran.

There was a glass box in the basement with porterhouse in it, that was connected to the second glass box located in the yard by a pipe. There were two televisions in the second glass box. One of them had been showing the live coverage of the meat rotting in real time. And the other one kept on repeating the same early minutes of the meat. This process continued until the end of January 2019. By the time the meat was noticeably rotten and there was a huge visual difference between the two televisions.

Then the glass box containing the meat was transferred to the yard and next to it was a smash downed television set, written on box: Live coverage.

There were printed papers on the glass boxes which contained these words:
“The body is declining here. But Do the deterioration is the thing that matters or showing the process?
The deterioration of matter by its presence in the environment, in an environment that no longer resists this deterioration, stops and waits for its end, leaving nothing behind. But at the same time, we find the object self-displaying and does not move.

It is the media that drives us into the illusion of movement and as the omniscient shapes our perceptions. It actually determines what we see in our daily life in a different way, and makes it believable; so much that we don’t replace the feeling we have and always think of suspension  as a sign of movement.”

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Instrument of Unification

2018-08-30


“Instrument of Unification” was performed by Amateur Community from June 27th to August 5th, 2018 in galleries number 1 and 2 of Rooberoo Mansion in Tehran, Iran.

Gallery no.1 was painted all in yellow and there were texts all around written with stencil and spray. They contained descriptions of space features, leaflet of Amateur Community theory, control, montage and hacking. In the center of the space there was the server computer which had the Tehran archive on it. This archive contains films of Tehran recorded by Amateur Community from 2016. There were 4 other computers connected to the server by cables. People could sit at them, watch the films, add their files and make their own films with the help of a simple editing program (which had a tutorial on the system).

When the editing finished, the film was added to the main archive and was projected and looped with other films on the left wall. During the 10 days of the exhibit, almost 80 films were made, which have been uploaded on YouTube.

There was another projection on the right wall showing other users’ systems.

There was a symbolic back-up of the archive in gallery no.2 (Rooberoo Mansion, attic-like spot) also the live CCTV footage of the other spot available on a LCD.

***
We were in Tbilisi in January 2020 for 9 days, we filmed the city and made a video archive of Tbilisi.
Since the 24 of January 2020, Neverland Cinema in Rotterdam is showing Instrument of Unification with video archives from Tehran, Tbilisi and Rotterdam. Due to our schedule we couldn’t attend the exhibition but we had to supervise it from distance.
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Exhibition Report:

https://www.youtube.com/watch?v=sz-qecbrbTQ&t=544s

* You can see the atmosphere of exhibition via this link:
https://www.youtube.com/channel/UCOkXvj01gsU4E1_fpchelbQ


Leaflet of Amateur Community

2018-07-28


0

What is a city? For what reason do we gather around in a specific geographic location?

 

1

City is an archive.

 

2

The city makes man time and space-related. Man plays no role in relation to space and time in comparison to the city. Because the city places the boundaries of space for man and makes him dependent on time planning (the pragmatism of his time) and provides man with a certain direction, in which he can move. When we go out of the house, we are only allowed to move in specific sections, and they set the path for us. On the other hand, the city dictates its time to its citizens. Time-scheduling is a matter of urbanization. Urbanite is dependent on this time table. Without hourly scheduling, the city does not happen.

 

3

The urban production line requires the creation of a system. And a system essentially needs a spatial framework and a timetable. The urbanite has no way out of it, and of course, apart from this time and place, it has no definition. Urbanite must respect the city and its rules, because it is related dependent on the city.

 

 

4

The opportunity that the city introduces is initially a fascinating feature, but ultimately it creates a closed space.

 

5

In different metropolitans of different cultures, there is a possibility for more relationships among the people. More data is being exchanged in the city. This is an interesting possibility.

 

6

The city basically categorizes human beings. Governments tend to categorize people. Because this categorization simplifies control, and this control is a prerequisite for the system’s survival. This is also true even for people who attempt to escape this traditional classification, because they inevitably give into a new category. Emancipation is only possible through awareness of the state of being categorized.

 

7

The city offers life together and encourages people to live this way. And, of course, this suggestion, in a contradictory manner, makes human beings individualistic and isolated.

 

8

The government always wants to isolate people in the city to make it easier to form. Instead of a case by case control, the government proposes a mechanical system. Because controlling a machine is routine and simple. And the man himself becomes the machine operator. Man himself becomes the machine.

A machine has specific instructions and does not survive the violation of these specific instructions. So a disruption in the machine system equals exiting the system and ultimately the destruction of the machine.

 

9

City is the battery of Capitalism.

 

10

The urban order is created by the ruling authorities, in order to facilitate archiving and control. Order meaning law. Therefore, the violation of the order is an illegal act.

We get more and more similar to each other everyday. For instance, in order to reach a certain a point, we move in the same direction and by the same means. The walls dictate certain moves to us, and vehicles move us from one point to another.

But an Anti-Archive does not categorize and does not provide categorized information. It is thus active and does not even represent action, but conversely creates the action. Because there is not a definite point of view for the anti-archive to represent. Mind itself must move and create.

The spectacle is not a collection of images, but a social relation among people, mediated by images.

society of the spectacle – Guy Debord -4

 

12

The subject for the anti-archive is the daily lives of people. Some kind of archive that does not categorize. Does not provide a point of view. It therefore fights against official archives. Because it does not provide categorized information, it does not have official and government value. It changes the official format of the archive and reveals itself. And by doing so, it reveals the truth about archives. Due to the fact that the anti-archive is a visible archive. While the government archive is a hidden one and presents potential. The potential in relation to the archive emphasizes the fact that the archive appears not to have the goal of archiving and works with detailed and everyday information. Information that appears not to have importance. But in fact, on a large scale, is very important. For example, the interest of humans in a particular color, which in large numbers can affect the mode and fashion industry. For example, the archive that Google creates is a potential hidden archive. An archive that serves capitalism and power. An archive that can change lives and urban life by categorizing human beings and turning them into statistical data that is then offered to large corporations and security systems.

The urban control systems are also of the same nature. An archive that is always being produced and added to, in order to be used in the right period of time.

 

13

We are continuously being archived in our daily lives. Governments around the world do not show their need for archiving, but in fact, all forms of control are being implemented through the archives.

 

14

The archive actually creates an organized form that is futile to escape from. Because everything is being archived. But the state that the anti-archive proposes reveals the truth about the ones who archive and the ones who are being archived. Establishing an interface, in which you archive yourself and present the information all by yourself, it provides a space to understand this process. This space shows how archives are used in everyday life. And it turns it into a process that turns to a point for achieving awareness of archiving.

 

15

Anti-archive, is constantly moving between the state of becoming and not becoming. He considers all his time as a minimal happening in his narration. And it considers all the events at a certain period of time, when all of them are actually the same possibility that prompts a person in order to suggest and re-suggest.

A kind of impartial approach is in the making. Because, when the number of provided points of view increases and different points of view arise, the unit point of view is disturbed. Therefore, it is safe to say that that the camera and the spaces are not allocated to a specific point of view, and anyone has the right to add anything they want to the archive. This process creates a disturbance in perspective. The archive never ends, and solely changes from one form to another, functioning like a form of energy. Each time, and in each city, the anti-archive reveals itself in a different manner, a manner that is merely suggested by the city itself. No matter where you are located in the archive, you are being changed in the archive, and if someone films the original archive, this film is considered a raw material for the next person.

 

16

Among the attributed features of primitive rituals, the following can be mentioned:

1. A certain group of people are not responsible for the practice of religion; in other words, there is no spiritual leader. Everyone is qualified to perform the ritual.

2. There is no specific place dedicated to the ritual. In other words, a temple does not exist. Furthermore, The ritual can be held at any time.

3. Spirits and gods have generic names, not special or sacred titles.

The Golden Bough – James George Frazer

 

17

What is an amateur?

The Latin word for amateur means lover. A person who does an activity for pleasure. Doing an action without taking into account the outcome and merely enjoying the procedure in a Dionysian Manner.

 

18

An Amateur Film

In the process of forming an archive, the films being produced, are amateur films.

What is an amateur film from our perspective? A film which is made without a certain point of view from a specific or nonspecific point of view.

An amateur filmmaker only finds what he is creating in the process of creation. The amateur filmmaker has no definite aspect or ground, which is previously determined. The amateur filmmaker confronts and is formed in this process of confrontation with different events. It constantly forms, re-forms and is being re-formed itself. In fact, amateur filmmaking is a form of encounter with film(image) that does not have a particular category and does not hold any form. It is built in itself and destroyed in itself.

 

19

The main concern of the amateur film is the living experience. Amateur filmmaking is Dionysian. Its only irreconcilable rule is the passion of the moment. Like a homemade film. The amateur filmmaker is not looking for any astonishment outside his everyday life. Everyday life is the source of his astonishment. It is only important to regard and obey the feeling of the moment, and then, by retrieving the released Eros, regularity or irregularity, seeking a representation or abandoning representation, the result and improvisation, none have any relevance.

In an amateur movie, it is not important how an object is being captured, instead, the act of capturing is important. An amateur movie does not have any instructions.

 

20
The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and of false consciousness, and the unification it achieves is nothing but an official language of generalized separation.
Society of the spectacle – Guy Debord –3

 

21

An anti-archive may look like a governmental archive. But its approach is not governmental. Because, in an anti-archive, separate films are destroyed by being divided and therefore do hold value.

 

22

In a world which really is topsy-turvy, the true is a moment of the false.

Society of the Spectacle-Guy Debord-9

 

23

restricted urban space: Control.

A geographically restricted space is a large and densely populated city in which we live. Cities, in which, the sky can not be seen. The mountains are not seen. Everything is concrete, stone and cement. The roads are closed and cars transfer you through the city.

But a mentally restricted space is some sort of panic. The fears that the ruling authorities and Capitalism build through the city. A kind of repression. This repression is usually built and intensified by the citizens themselves. For example, the sense of insecurity in the citizens of the city is an important matter that deserves profound attention. The problem, is not the actual amount of insecurity in the city, but the virtual sense of insecurity that we are given, enough to buy locks for our doors,  buy weapons, not move freely in time and space, and subsequently, be terrified and passive.

Image deconstruction is not created in the eyes of the citizens, and they are instantly afraid and defenseless against any new phenomenon. This city will have unobtrusive and obedient citizens.

 

24

being objectified in the city and turning into a moving advertising product without any return.

 

25

It’s inevitable not to be outcome-oriented for the anti-archive and amateur film. Because in this space, the context and process are important and not the outcome.

 

26

In any case, capitalism and consequentialism are moving in the same direction. Even if something does not have an outcome-oriented space and approach, capitalism will take that into its own outcome.

 

27

The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in production and its corollary consumption. The spectacle’s form and content are identically the total justification of the existing system’s conditions and goals. The spectacle is also the permanent presence of this justification, since it occupies the main part of the time lived outside of modern production.

Society of the spectacle – Guy Debord –6

 

28

Our world is the world of representation. A world that trains and forms us in a compatible manner to all that it wants. A form that is in his own interest. And it forms the way we think. A universe that represents itself as its interests require, through all the representing tools that it possesses. And it gives us the illusion of choosing methods that we have not chosen ourselves. Hence, the rejection of representation is a political act. Abandoning and rejecting representation, like philosophy, begins with questioning. Therefore, life, art, philosophy and politics are correlated and flowing from our perspective.

 

29

In fact, the anti-archive does not allow the representation to take shape, and the forming of representation itself comes from the archive and represents its archive. Due to the fact that the amateur film is not rule or outcome-oriented, it can not enter the area of representation for objects and people.

 

30

In fact, hacking an archive or destroying one, will create another archive itself.

 

31

Confrontation is inevitable. The main issue is how to approach confrontation.

 

32

An attempt to hit the subconscious Capitalism

 

33

One cannot abstractly contrast the spectacle to actual social activity: such a division is itself divided. The spectacle which inverts the real is in fact produced. Lived reality is materially invaded by the contemplation of the spectacle while simultaneously absorbing the spectacular order, giving it positive cohesiveness. Objective reality is present on both sides. Every notion fixed this way has no other basis than its passage into the opposite: reality rises up within the spectacle, and the spectacle is real. This reciprocal alienation is the essence and the support of the existing society.

Society of the spectacle – Guy Debord –8

 

34

Any creation and action, in a direction that does not destroy aesthetics, is itself condemned to promote the aesthetics of capitalism.

 

35

Art exists to eliminate the existing order, but not to create a systematic order.

Outcome-oriented art is disposable art. Disposable art is slowly converted into products that are seen throughout the city. And this is the reason why capitalism shows interest in disposable art. Because it uses it, in order to embellish its own factory and make its brands beautiful and it also uses colors. In fact, it builds a factory for producing video and graphic material, and with that factory, it has always intentions for advertising itself.

The whole goal of this factory, is the production of promotional material, and the achievement of a form of advertising that will concur and cover us all in the simplest and most natural way. And like a multi-stage advertisement plan that tricks its audience into a game and keeps them guessing and uses that for reaching a portal that they themselves call the relationship between the client and the producer, it introduces consumer-client rights, which is basically an illusion, and this illusion reveals itself due to the fact that the use of the product by the customer is planned along with the goal of making the audience dependent on consumption. In fact, the audience sees his identity in consumption.

Factories employ artists. Art gradually turns into one of the big factories. The ideological aesthetics promotes and creates production, for a beautiful dominance that is the domination of capitalism.

 

36

Consumer rights: Is this a false claim? The government orders, but the producer and consumer are one and the same. Production and consumption have an inseparable relationship. The factory itself is the product. The factory is the customer. And the city is all these relationships. The city is in between. The city is a relationship. The term consumer rights is incorporated into goods and is entirely a legal term. But when the consumer and the producer, the machine and the operator, the seller and the customer are aligned to make the capitalist system more powerful, it seems that these rights have merely entertaining purposes. And, incidentally, the only thing that it intends to do is to make the relationship between the machine, the operator and the apparatus much more powerful.

 

37

The main issue is the relationship.

 

38

Anti-archive creates distortion in urban times.

 

39

Is language, the central archive? And in this way, illude and control the mind?

 

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