The first temporary board for the archive is found and chosen based on this agreement they help to approve and develop further. They help to plan arrangements and points on a new board.

It is important to take care of content in Archive For What We Know We Don’t Know relates to other institutions, and how content that becomes relevant knowledge are sent on to local, regional, national and international institutions and archives.

Boardmembers are primary professional artists and contribute to focus Archive For What We Know We Don’t Know towards the transition between art as non-knowledge and knowledge.

Context
The board help to present what Donas Rumsfeld according to Slavoj Zizek probably would call The Known Unknown. Arrangements and events in this field are about what we perceive as virtual, the part of the virtual we know we don’t know anything about. The context is especially well chosen for what we act upon, even though we know we don’t know anything about it.

Virtual simulated meetingpoints offer the opportunity to meet across geographical boundaries. Here you can do things, not possible the same way other places.
Access to a virtual space depend on geography and infrastructure. Knowledge about, or content in the insitution of art on the other side of earth is an alternative to our local reality. Archive For What We Know We Don’t Know point to how it is different and how it relates to eachother, before it comes into the archive, within an archive, and after the archive.

An archive of what we know we don’t know is only possible as not accessible knowledge, or documentation before it becomes knowledge.

The project is a machine or algorithm for reinventing it’s own identy. It offer alternatives for geographical and institutional knowledge and relates to the same centralized positions for justification.

The place of the archive points to alternatives to a centralized understanding of the institution of art. It could be on a grass lawn, but could also be a sales stall, or some kind of space. It will be natural if it isn’t to easy to get to, similar to how we use our software and other things we understand as virtual. New Delhi will be a natural choice for is in Scandinavia and Northern Europe. A chosen grass lawn in Delhi will then be site for art as knowledge.

Whether there should be anything else in the archive than the necessary paraphernalia for events is determined by the current board.

However, it is a requirement that content in the archive must be what we know we know nothing about.
Maintenance may be voluntary, and temporary offer another available public space, depending on how long a board sits before reoplaced.
It may well be for many years the site can be part of local public space, while in reality Archive For What We Know We Don’t Know and site for non-knowledge. That is, the board must be sure they don’t know what is there. Once the board has reason to believe that the site is not what we know we do not know, the site or must be abondoned and another should be found or content replaced.

New Members of the board
New members of the chosen board should be found among scandinavian or northern european artists and culture personalities, who can be expected to important for what we don’t know anything about. But also among international network for what we don’t know anything about.

Moreover it will be important to invite persons with local knowledge to be in the board, to understand a site in the local context. The board participate in the choice of site for the first archive. The current board choose if it is the only one. The number of archive branches deviates. The board must be willing to pay local land tax for Archive For What We Know We Don’t Know. Daily maintenance may be engaged in a debate on how the land is part of the public domain.

Local caretaker
A local caretaker can be chosen for the daily maintenance. In effect the person can be a curator of content in the archive. The person can also be a user of the archive, if the caretaker know what is in the archive while others don’t, the board may consider to replace content. In that situation the caretaker is important to relate the content as relevant or not for other institutions.

** Clip Kino organiser/facilitator **

1.  Arranges and secures the space for event (the venue), including gathering together the necessary equipment to make a screening event (the equipment, which includes projector/LCD TV, laptop, adaptors, audio speakers or sound system if necessary).

2.  Manages general communications on the Clip Kino publicity, including sharing login details (website archive), or admin/posting rights (e.g. facebook) where appropriate.

3.  Takes responsibility to help the Clip Kino guest-curator gain some awareness and acknowledgment of terms of use of common video-sharing platforms, and how the Clip Kino guest-curator may be entering a ‘grey legal zone’.

4.  Takes responsibility for gathering clip screening list, and making this available on the relevant Clip Kino archive within a week of the event.

** Clip Kino guest-curator/group **

1.  Arranges at least 1 event of 40-60 mins of video-clip content sourced from the Internet, based on a theme or subject of their choice.

2.  Gives a text description and image to illustrate the event, 1 week in advance of the event, to be used in publicity.

3.  Agrees that if the video-clips are used which are not already online, the Clip Kino guest-curator will put the materials online before the event takes place.

4.  Agrees not to show illegal materials, racist, hardcore pornography, or that which depicts violatons of human or animal rights.

5.  Gives respect to the audience who turns up to watch what they have chosen, without knowing exactly what they are going to watch.

6.  Agrees to give an advance warning if materials are unsuitable for under 13 age, or if they may shock or disgust audience members.

7.  Agrees to share the clip screening list on the day of the screening event. This list will have as minimum information the title of each video-clip (which is same as that titled online) and its link to it’s location online. Further information which is helpful includes the time-length of each clip, when and by whom uploaded the clip, and any notes the guest-curator/group wishes to give.

8.  Considers contacting the authors of clips in advance (via an in-build messaging service of the platform) to seek permission/give notice that the clip is going to be shown at a public event. However, In Clip Kino we interpret that when someone has uploaded video online they understand it to be public in the common-sense of the term.

Note that screening in public most likely breaches terms-of-use for most online video-sharing platforms. For example, YouTube §5 B: “You shall not copy, reproduce, distribute, transmit, broadcast, display, sell, license, or otherwise exploit any Content for any other purposes without the prior written consent of YouTube or the respective licensors of the Content.” http://www.youtube.com/t/terms

** Clip Kino audience **

1.  Is attending on the basis of not knowing exactly what they are going to watch.

2.  Is often different at each event, according to theme, guest-curator/group, venue, social-network, publicity, season, weather. More variables that can be mentioned.

3.  Is attending on the basis of trust, interest, enthusiasm, friendship, good will, open-mindedness, curiosity, and many other unknowns.

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Further information about Clip Kino: http://clipkino.info/

Always use genuine Epson/Lexmark/HP cartridges

Warranty void if opened.

Drink responsibly.

Also: “Don’t drink and drive” (more rare on actual bottles, but common as state propaganda. Subquestion: Why don’t the car manufacturers share the blame? – “Toyota – Don’t Drink and Drive”).

5mg, 3 times daily, before a meal.

(Kamilla Victor)

The drink must be served chilled.

For paintings: The painting must be completely overpainted by the new owner. The EULA may not be overpainted or altered.

(Co-created by Kamilla Victor)

The work may only be viewed for five seconds at a time, so as to keep the experience at a precognitive level of visual experience, and to prevent cognitive reflection. (A true visual experience is not cognitive). The required delay between glimpses is not specified, but must be long enough for focus/consciousness to have moved on to something else.

(Co-created in dialogical space between me and Henning Schou)