Full bibliography

This essay is an attempt to map out the territory of the 'public' sphere as both localizable and imaginary, and to discuss the changed and changing possibilities for art production as communicationary toolbox and representational politics in the public realm. I will take my point of departure in conceptions of practice and spectatorship based on the notion of a fundamentally 'fragmented' public sphere, and explore which potentials, problematics and politics lies behind the construction (real or imaginary) of a particular public sphere or space. Where can a public sphere be located today, and how can critical and/or artistic interventions be made in it? How does one perceive and/or construct a specific public sphere and positional and/or participatory model for spectatorship as opposed to (modernist) generalized ones? Does this entail a reconfiguration of the (bourgeois) notion of the public sphere into a different arena and/or into a mass of different, overlapping spheres? Or, put in other terms, what can be put in the place of the public sphere?

transversal texts is production site and platform at once, territory and stream of publication − the middle of a becoming that never wants to become a publishing company.