the- documents.org
the- documents.org is an online platform, collecting, describing, presenting and generating documents of all sorts. It documents documents.

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 the visitor makes his/her/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 conduct research 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 and KASK, the School of Arts of HOGENT and Howest.

 

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.

14.12.2024 Your path through the collection lead along  Negative sheet 21, negative 24, negative 24,5.

A malfunctioning of the camera leading to a double-exposed negative. The car is decisive in establishing the relationship between the superimposed photographs. In the middle of the image, we see it parked in front of the house. Slightly less visible is the same car, repeated but further away. This makes it possible to deduce that the dark outline of the house, with the roof and the chimney, is also the same house as in the other photograph. This time, the house is photographed relatively frontally (the slightly angled point of view allows to bring the shed at the back of the house in the line of sight), and from nearby. At the bottom left, the lines that make up the street help to see the continuity of the one photograph, while the electric wires at the top right aid to comprehend the other one. 

The camera malfunction speculates on a future addition to the plot. The dark, outlined shed’s scale is realistic with regards to the scale of the house and itself (the shed) in the other photograph. Its position with regards to the other buildings seems logical. It imposes itself as a possible second shed for the owner to build in the next few years. In that future shed, the car, now standing in front of the house, could be comfortably parked.

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