A document can function as something unique, or as something reproducible. A passport is a document, but a leaflet is equally so. Documents abound and vary: a photograph left as a bookmark in a second-hand book, a screenshot in the trash bin, a worn-out note on the pavement testifying to a school assignment and yesterday’s rain. But also a car recording the impact of a crash, a disappointing first photograph, a profanity carved in warm roofing, a slice of a mammoth tree representing historical events, a fragment of charred wood from a utility pole, a list of to-do’s written on the back of a hand. Defining a document involves ideas of communication, information, evidence, inscription, and implies notions of objectivity and neutrality – but the document is neither reducible to one of them, nor is it equal to their sum. Moreover, documents can lie; they can be ephemeral and subject to change. It is hard to pinpoint the document, as it disperses into and is affected by other fields: it is intrinsically tied to the history of media and to important currents in literature, photography and art; it is linked to epistemic and power structures. Despite its ubiquity, and however unwavering and stable it is considered to be, a document confuses.
the-documents.org aims to question what a document is and how it functions. It gathers documents and provides them with a caption – a short textual description, explanation, or digression. But as it collects documents, it also creates documents. In Paper Knowledge, Lisa Gitelman paraphrases documentalist Suzanne Briet, stating that ‘an antelope running wild would not be a document, but an antelope taken into a zoo would be one, presumably because it would then be framed – or reframed – as an example, specimen, or instance.’ The files gathered on the-documents.org are all documents – if they weren’t before publication, they now are. That is what the-documents.org, irreversibly, does. It is a zoo turning an antelope into an ‘antelope’.
Navigating the website can be done in different ways. There are links in the textual descriptions leading to other documents; there is a collection of all files published; at the right, the sidebar allows users to filter and arrange files based on themes, authors, types, etc. You can hit ‘random’. As visitors make their way through the collection, the-documents.org tracks the entries that have been viewed. It documents the path through the website. Your path can be saved digitally, printed at home, or ordered as a book. As such, the time spent on the-documents.org turns into a new document.
Contact: info [@] the-documents.org
The-documents.org is a project by De Cleene De Cleene; design & development by atelier Haegeman Temmerman.
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Arnout De Cleene & Michiel De Cleene combine a background in literature and photography with an interest in the document and the documentary. Topics vary. The poetics of blockchain. Mount Vesuvius’ 1872 eruption. Coppicing near a highway parking lot. An architect’s photographic archive. Etc. Research leads to artist books, as well as essays, lectures and exhibitions. They have conducted research at Hasselt University and at KASK & Conservatory, School of Arts, Gent.
www.decleenedecleene.be
contact: info [@] decleenedecleene.be
This project was made possible with the support of the Flemish Government, KASK & Conservatory, School of Arts Gent and Hasselt University.
Briet, S. Qu’est-ce que la documentation? Paris: Edit, 1951.
Gitelman, L. Paper Knowledge. Toward a Media History of Documents. Durham/London: Duke University Press, 2014.
Oxford English Dictionary Online. Accessed on 13.05.2021.
Built in 1969, the salle polyvalente1 in La Grande-Motte2 was the first venue where the residents – back when there were only 700 of them – could gather. Jean Balladur had envisioned an open-air theatre covered by a removable stretched canvas, adjacent to a single-storey multipurpose hall. The load-bearing structure, Balladur explained, consists of anthropomorphic columns sculpted by Albert Marchais: “My friend the sculptor, painter, poet and man of the theatre, Albert Marchais, devised the design for a sliding formwork that made it possible to cast the columns… they line up on either side of the hall in patterns that free them from the strict constraints of matter. This freedom is the joy of all sculpture.”3
The geometric forms that make up the hands and arms of these figures are today strung with cables carrying electricity and data.
Jean Balladur was never fond of the term ‘salle polyvalente’, he preferred ‘salle commune, dédié à la fête’ – a communal hall, dedicated to parties. Since 2019 it is officially the Centre Culturel Henri Dunoyer, after a former mayor.
La Grande-Motte is a seaside resort created by the Mission Racine, the state programme for the development of the Languedoc coastline in southern France. Intended as a holiday destination for the middle class in the 1970s, it is the work of architect Jean Balladur (1924–2002), who was tasked with designing the entire urban layout and architecture of the new town. He drew inspiration from pre-Columbian pyramids and from modernist architecture in Brazil, especially the work of Oscar Niemeyer. At a time when large housing complexes were going up all over France in the form of tower blocks and slabs, Balladur’s solutions were different enough that La Grande-Motte was a success from the very beginning.
« Mon ami le sculpteur, peintre, poète, homme de théâtre, Albert Marchais, a imaginé le dessin d’un coffrage glissant qui a permis de couler les poteaux… ils s’alignent de chaque côté de la salle dans des figures qui les affranchissent des strictes contraintes de la matière. Cette liberté fait le bonheur de toute sculpture. »
On market days, the parterre of the open-air theatre serves a a car park for the vendors’ vans and cars.
François, Michèle. Jean Balladur et la Grande-Motte: l’architecte d’une ville. Duo. Monuments historiques et objets d’art du Languedoc-Roussillon, Direction régionale des affaires culturelles, 2010, p. 41-42.