Written by Ford S. Ford   


...Also I started pondering about various possibilities to extend the art strike to the past. To achieve this, I would like to propose that we make a scientific project, which determines a point in the past which we find adequate when the art strike should begin. I think we should use a number of different disciplines, from art history, sociology, statistics and climate and migration studies, including comparative literature, oceanographical and meteorological analysis of the ozone layer and the world's oceans to determine the crucial point in time in the past, when we declare the strike started. We could publish on this occasion a newsletter located in the past, which discusses various art related events as well as socio-political developments. A corresponding newsletter could be then located in the future where we evaluate the effects of the strike on international production and presentation of art. A central focus will be to analyze use and dissemination of words such as "culture" and "creativity", as well as reassessing concept such as "critical" and "political" in the respective contexts of their appearance and usages - thus identifying tendencies and currents by means of flow-charts and diagrams as they are used by economists, stock trade strategists and in statistic surveys - disclosing derivation of these notions, their first-time usage, when and where they emerge and where they massively appear.

These charts and diagrams will be presented on flip-charts on international trade and financial fairs, as we will be the first traders of technical terminology as a commodity. This is the result of us identifying the terminology of contemporary art as a factor of production: these notions are not only the means of production in the contemporary art market but also they form the instruments of labour. By exposing this intricate mode of production in our presentations, we will be able to convince stockholder to invest in our multinational company which trades values such as originality, authenticity as well as poignancy of words. We will be the first to actually deliver lists of words which are "in" and "out", charging curators, artists, writers and editors of art catalogues for the use of these lists of words which we will keep updated constantly. In return, the profit of this company will be used to build up the first international union of data miners, representing intellectual workers globally, and forcing all writers in future to use the copyright sign when a technical term in contermporary art which was procuded by our company is used in a sentence, e.g.
"In his/her work, XYZ addresss the pizzicability© of contemporary societies by synchronically swibbling© images and text, thus eschewing the inherent anycholistic© tendency of contemporary art."

If you are interested in this model, which entwines business with labour struggles, please let me know.

Yours sincerely,

Ford S. Ford
Chairman of Logovent Ltd. (est. 1455)
New York, Stockholm, Osaka, Vilnius, Offenbach