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robertogreco : 1971   16

What Salvador Allende Feared
"On September 11, 1973, Chile’s socialist president Salvador Allende was overthrown in a CIA-backed military coup. In this 1971 interview, published in English for the first time, Allende expressed his fears of internal destabilization and US interference."
salvadorallende  1973  1971  chile  history  us  intervention  rossana  rossanda  henrykissenger  richardnixon  socialism  cia  capitalism  democracy  coup 
7 days ago by robertogreco
Robbie McClintock in the Reflective Commons
"In this temper, one last hypothesis: in making the case for study, one does not denigrate the teacher's profession. To be sure, one has to speak out against exaggerating the power of instruction. But this criticism does not reject teaching; in place of a rejection, it is a quest for the mean, a celebration of the Greek sense for nothing too much, an attempt to balance an inflated version of the teacher's mission with a touch of reality. Yes—let us continue our effort to teach all as best we can, but let us do so with more humility, sobriety, and realism.

Instruction does not make the man. A teacher gains coercive power to control and mold his students only so long as they abdicate their autonomy and dignity. Such an abdication is not a good foundation for an educational system, especially since it is less common and continuous than many would seem to believe. The teacher's authority, be it as a model of excellence or of folly, is a quality his students project erotically upon him. It is an attraction or repulsion that results because students are forever suspending their interest in learning their lessons; instead they abstract, they reflect; they step back mentally and with curiously cocked heads they observe their didactic deliverer, musing with soaring hope, wonder, joy, resignation, boredom, cynicism, amusement, sad tears, despair, or cold resentment—Ecce homo!

A teacher may or may not cause learning, but he will always be an object of study. Hence the pedant so surely plays the fool. But hence too, the man teaching can often occasion achievements that far surpass his personal powers. Great teachers can be found conforming to every type—they are tall and short, shaggy and trim, timid and tough, loquacious and terse, casual and stern, clear and obscure. Great teachers are persons who repay study, and they repay study because they know with Montaigne, "My trade and my art is to live.""
teaching  learning  instruction  montaigne  1971  robbiemcclintock  lucan  training  study  howwelearn  howweteach  pedagogy  erasmus  seneca  plato 
december 2017 by robertogreco
The Alcatraz Proclamation – The New Inquiry
"After Alcatraz Prison was decommissioned and listed as surplus federal property, Red Power activists occupied it in various configurations from 1969 to 1971. This is the proclamation they issued to the US Government. We, the native Americans, re-claim the land known as Alcatraz Island in the name of all American Indians by right of discovery."

"Proclamation to the Great White Father and All His People

We wish to be fair and honorable in our dealings with the Caucasian inhabitants of this land, and hereby offer the following treaty:

We will purchase said Alcatraz Island for twenty-four dollars ($24) in glass beads and red cloth, a precedent set by the white man’s purchase of a similar island about 300 years ago. We know that $24 in trade goods for these 16 acres is more than was paid when Manhattan Island was sold, but we know that land values have risen over the years. Our offer of $1.24 per acre is greater than the 47¢ per acre that the white men are now paying the California Indians for their land. We will give to the inhabitants of this island a portion of that land for their own, to be held in trust by the American Indian Affairs [sic] and by the bureau of Caucasian Affairs to hold in perpetuity—for as long as the sun shall rise and the rivers go down to the sea. We will further guide the inhabitants in the proper way of living. We will offer them our religion, our education, our life-ways, in order to help them achieve our level of civilization and thus raise them and all their white brothers up from their savage and unhappy state. We offer this treaty in good faith and wish to be fair and honorable in our dealings with all white men.

We feel that this so-called Alcatraz Island is more than suitable for an Indian Reservation, as determined by the white man’s own standards. By this we mean that this place resembles most Indian reservations in that:

1. It is isolated from modern facilities, and without adequate means of transportation.

2. It has no fresh running water.

3. It has inadequate sanitation facilities.

4. There are no oil or mineral rights.

5. There is no industry and so unemployment is very great.

6. There are no health care facilities.

7. The soil is rocky and non-productive; and the land does not support game.

8. There are no educational facilities.

9. The population has always exceeded the land base.

10. The population has always been held as prisoners and kept dependent upon others.

Further, it would be fitting and symbolic that ships from all over the world, entering the Golden Gate, would first see Indian land, and thus be reminded of the true history of this nation. This tiny island would be a symbol of the great lands once ruled by free and noble Indians."
redpower  1969  1970  1971  alcatraz  sanfrancisco  history  nativeamericans  reservations  proclamations  goldengate 
november 2016 by robertogreco
Art + tech (13 Oct., 2015, at Interconnected)
"There's something about art + tech which is niggling at me. The process I'm interested in is when a technology organisation commissions or supports art as a way to understand itself.

I don't quite understand this itch or why I've got it, so I've spent a day looking at examples."
mattwebb  art  design  technology  1951  belllabs  1960s  1990s  lilianschwartz  rachelduckhouse  kitchens  amtrak  randcorporation  1971  andywarhol  advertising  marketing  davidchoe  eames  eamesoffice  2011  1968  electricobjects  eo1  brendandawes  mailchimp 
october 2015 by robertogreco
Sun Ra's Full Lecture & Reading List From His 1971 UC Berkeley Course, "The Black Man in the Cosmos" | Open Culture
"A pioneer of “Afrofuturism,” bandleader Sun Ra emerged from a traditional swing scene in Alabama, touring the country in his teens as a member of his high school biology teacher’s big band. While attending Alabama Agricultural and Mechanical University, he had a out-of-body experience during which he was transported into outer space. As biographer John Szwed records him saying, “my whole body changed into something else. I landed on a planet that I identified as Saturn.” While there, aliens with “little antenna on each ear. A little antenna on each eye” instructed him to drop out of college and speak through his music. And that’s just what he did, changing his name from Herman Blount and never looking back.

Whether you believe that story, whether Sun Ra believes it, or whether his entire persona is a theatrical put-on should make no difference. Because Sun Ra would be a visionary either way. Combining Afrocentric science fiction, esoteric and occult philosophy, Egyptology, and, with his “Arkestra,” his own brand of free jazz-futurism that has no equal on earth, the man is truly sui generis. In 1971, he served as artist-in-residence at UC Berkeley and offered a spring semester lecture, African-American Studies 198, also known as “Sun Ra 171,” “The Black Man in the Universe,” or “The Black man in the Cosmos.” The course featured readings from—to name just a few—theosophist Madame Blavatsky, French philosopher Constantin Francois de Chasseboeuf, black American writer and poet Henry Dumas, and “God,” whom the cosmic jazz theorist reportedly listed as the author of The Source Book of Man’s Life and Death (otherwise known as the King James Bible).

Now we have the rare opportunity to hear a full lecture from that class at the top of the post. Listen to Sun Ra spin his intricate, bizarrely otherworldly theories, drawn from his personal philosophy, peculiar etymologies, and idiosyncratic readings of religious texts. Hearing him speak is a little like hearing him play, so be prepared for a lot of free association and jarring, unexpected juxtapositions. Szwed describes a “typical lecture” below:
Sun Ra wrote biblical quotes on the board and then ‘permutated’ them—rewrote and transformed their letters and syntax into new equations of meaning, while members of the Arkestra passed through the room, preventing anyone from taping the class. His lecture subjects included Neoplatonic doctrines; the application of ancient history and religious texts to racial problems; pollution and war; and a radical reinterpretation of the Bible in light of Egyptology.

Luckily for us, some sly student captured one of those lectures on tape. For more of Professor Ra’s spaced out presentation, see the Helsinki interview above, also from 1971. And if you decide you need your own education in “Sun Ra 171,” see the full reading list from his Berkeley course below, courtesy of the blog New Day."
sunra  art  culture  1971  ucberkeley 
october 2014 by robertogreco
A Community of Artists: Radical Pedagogy at CalArts, 1969-72 (East of Borneo)
"In (and Out of) the Classroom

The academic program instituted in the first two years after the institute opened in 1970 responded actively to the radical critique of education, at the same time evincing a Romantic belief in the liberating and equalizing powers of art and artists. Early promotional literature explicitly redefined the notion of “school” or steered clear of the word altogether. As Judith Adler notes in her 1979 ethnography of CalArts, Artists in Offices, “reference to the new organization as an institute (with its connotations of scientific and scholarly prestige) and as a community implicitly distinguished CalArts from other schools where artists teach students.” 6 The CalArts concept statement explicitly stated that “students [were] accepted as artists […] and encouraged in the independence this implies,” while elsewhere faculty and students were described as “collaborators.” 7

The first admissions bulletin similarly highlighted the fact that there was to be no fixed curriculum at CalArts. Provost and dean of theater Blau advocated “no information in advance of need,” and dean of music Mel Powell called for “as many curricula as students.” The vision for critical studies outlined by dean Maurice Stein argued for doing away with courses altogether, because “courses really get nobody anywhere.” Powell’s vision for the music school was similarly anarchic and personality-driven: “We must know by now that curricula, or especially descriptions of curricula, are almost always humbug. What counts is the people involved. Expansion of musical sensibility, adroitness, knowledge, experience—that has to be operative, not catalog blather.”

Many of the radical pedagogical impulses expressed in these early admissions materials came to pass once the institute was up and running—in its first year, on a temporary campus at the Villa Cabrini, a former Catholic girls’ school in Burbank, and in its second year, on the permanent CalArts campus in Valencia. Although the school of critical studies did end up offering courses, the options might better be described as “anti-courses”—i.e., non-academic classes parodying academic classes or academic classes in subject areas considered unworthy of study by the academy, such as Advanced Drug Research, Chinese Sutra Meditation, Sex in Human Experience and Society or Superwoman: A Feminist Workshop. Across the institute, schedules were intentionally loose and attendance voluntary. 9 One of the course schedule bulletins that were mimeographed weekly and distributed on campus lists a range of classes and events, some of which repeat, others that do not: a lecture on “Epistemology of Design” is offered “at instructor’s home,” while Peter Van Riper is scheduled to lecture on “Art History or Whatever He’s Into”; a meeting with the dean of students is open to “all persons interested in discussing and working on untraditional ways of providing psychological services (Counseling, Group Therapy, Encounter Groups, etc.)”; the Ewe Ensemble (Music of Ghana) meets in parking lot W, at the same time that Kaprow offers Advanced Happenings; in the evening, a concert by Ravi Shankar."

"The Fluxus artists’ interest in a more open-ended, experienced-based pedagogy and their experiments with temporality and alternative uses of space dovetailed nicely with the administration’s desire to buck the bureaucratic conventions of schooling. 13 As the associate dean of the art school, Kaprow in particular had a powerful influence on the direction of the early institute. “Kaprow was the thinking behind the school as far as I’m concerned,” Knowles argues. “[He] had the vision of a school based on what artists wanted to do rather than what the school wanted them to do.”"

"Corrigan and Blau fought their dismissal, insisting that they couldn’t be fired by the Disney Corporation, only by the board of trustees—who to begin with refused to support the decision. Roy Disney modified his position to allow Corrigan to stay on until the end of the year, though he remained firm in his firing of Blau as provost. Blau rejected an offer to stay on as dean of theater and dance, and by the end of 1972, both Corrigan and Blau had been ousted, three years after they’d begun planning the new school and two years after it opened. The faculty was downsized, and numerous hires they had made were canceled or let go.

Notes from a faculty retreat convened in Idyllwild, California after the institute’s first year reveal that many of the original faculty and administrators themselves favored reforming the structure and curriculum of the institute, and one wonders how the school might have developed had Corrigan and Blau been allowed to stay and build on their experience. Blau, for instance, argued that “the faculty must be better structured to reflect more of a distinction between student and faculty” and “a better definition of competence, eligibility, and progress must be established” for students. He also suggested that “separate programs […] be introduced for students who are capable of directing themselves and those students who need more specific guidance.” Other faculty members cited “great dissatisfaction with the chaotic situation of the past year,” “a need for more pragmatism,” and a need to clarify “programs and degrees—their content and what they represent.”

Although by that time the Disneys had donated more than $30 million to the school, much of it had gone to fund the building, which was lavishly equipped for art making, and the institute soon found itself in financial trouble. After a brief interlude with Walt Disney’s son-in-law Bill Lund at the helm, CalArts got a new president in 1975, Robert Fitzpatrick, whose charge was to assure fiscal solvency to the institute and make “all the divisions separate, to give each dean complete autonomy in his field, and to make the intermingling available to the students who could profit by it as a resource, not an obsession.” 28 Fitzpatrick had little reverence for the institute’s founding vision—either Walt’s version or Blau and Corrigan’s: “The trouble with utopia is that it doesn’t exist,” he said in a 1983 interview. “And then there was this dream of the perfect place for the arts, with all the disciplines beautifully mingling, every filmmaker composing symphonies, every actor a perfect graphic artist. Sure, it’s a great idea as far as it goes. But nobody noticed that each of the arts has its own pace, its own rhythm, and its own demands.”

What is missing from Fitzpatrick’s own vision is any reference to the more Marcusian conception of the institute not just as the “perfect place for the arts,” but as an ideal community fashioned through the arts. As Faith Wilding reflects on her experience in the Feminist Art Program and the community that developed out of it:
What remains of primary importance to me […] is the sense that we were connecting to a much larger enterprise than trying to advance our artistic careers, or to make art for art’s sake. It was precisely our commitment to the activist politics of women’s liberation, to a burgeoning theory and practice of feminism, and to a larger conversation about community, collectivity and radical history, which has given me lasting connections to people and a continuing sense of being part of a cultural and political resistance, however fragmentary the expression of this may be in my life today.

Despite his own conflicts with the institute, Blau holds a similar perspective: “During the time I was there (I cannot speak for it now), it was—like the Bauhaus or Black Mountain—not only a school but very much what Disney wanted, a community of the arts, in which students and teachers trained together, performed together, constructed ‘environments’ together and even somehow managed—where the particular work was not of a communal nature—to leave each other alone.”

CalArts today is a school rather than an anti-school, with grades (low pass/pass/high pass), a timetable for graduation, and for the first time in its history, a syllabus in every classroom. Yet an investment in radical pedagogy persists, with a loose consensus that the educational situations that work best often involve field trips and social outreach, project-based learning, and “mentoring” as opposed to “teaching.” The notion that faculty are to treat students as artists and colleagues prevails, with its attendant benefits and difficulties. The question of what form the delivery of content should take is a live one. Time and space are continually contested, and an openness to what might be places constant pressure on what is.

Just last year, the institute carved out a “commons” time from the heavily scheduled individual school curricula in which students can come together across disciplines to collaborate—in some sense, a return to its origins. Although, to paraphrase Marcuse, an art school can only be truly free in a free society—i.e., art becomes life only when life is also opened up to creative change—the promise of this commingling endures. Indeed, the Gesamtkunstwerk that preserves a vision of emancipated social life in times of political conservatism holds even greater possibilities in our own era of renewed resistance and collective action."
calarts  cv  history  education  1960s  1970s  robertfitzpatrick  roydisney  waltdisney  robertcorrigan  mariosalvo  herbertblau  fluxus  judithadler  melpowell  janetsarbanes  mauricestein  feminism  freedom  tcsnmy  lcproject  openstudioproject  alisonknowles  petervanriper  allankaprow  dickhiggins  emmettwilliams  jamestenney  namjunepaik  owensmith  judychicagomiriamschapiro  johnbaldessari  herbertmarcuse  art  arteducation  radicalism  communes  communalism  interdisciplinary  crosspollination  crossdisciplinary  transdisciplinary  multidisciplinary  experimentation  blackmountaincollege  bmc  pedagogy  teaching  howweteach  deschooling  capitalism  unschooling  power  control  democracy  anti-teaching  anti-schools  artschools  altgdp  activism  community  relationships  bauhaus  collectivism  society  grades  grading  schedules  timelines  syllabus  projectbasedlearning  2014  1969  1970  1971  1972  pbl  radicalpedagogy  artschool  syllabi 
august 2014 by robertogreco
SpeEdChange: Why we think 1970s Open Education failed, and considering what the truth really is...
"There are some of us who remember a time, both in the US and the UK, when education seemed to be in search for humanity. In this period test scores mattered less than accomplishments, students became far more involved in, and responsible for, educational decisions, responsibility was something it was assumed children and adolescents could handle, and pedagogy began to meet students where they were. It was a time when teachers and even administrators began to rebel against the American factory schools and the British Disraeli-designed colonial education system.

Today we are taught that this period was a chaotic failure, but the truth lies elsewhere, and the reason we are told of this "failure" can be keenly instructive.

We tend now, after years of political conservatism, to look back at the 1960s and 1970s as a time of dangerous and ineffective turmoil, of assassinations, riots, disruptions, inflation, and the decline of traditional values. Thus we rarely understand the accomplishments. But between 1960 and 1976 a vast number of Americans, including Women, African-Americans, and even some Latinos and Gays,were liberated from those traditional values, with earthshaking changes made in legal racial segregation, legal limitations of women's educational opportunities, job opportunities, and pay, legal exploitation of farm workers, legal arrests for consensual sexual activity between adults. The now much maligned War on Poverty lifted tens of millions of Americans - mostly white Americans to be clear - from "developing world" levels of poverty, by redistributing income from the Northeast and West Coast to states like Kentucky, West Virginia, Tennessee, Alabama, Mississippi, and Texas. When Republicans now say that the American poor have a lot more than the poor elsewhere, that is only true because of The Great Society program, its welfare structures, Medicaid, Medicare, and rural electrification."

irsocolo  education  history  progressive  progressiveeducation  openclassroom  tcsnmy  lcproject  openstudioproject  humanism  teaching  learning  unschooling  conservatism  1960s  19070s  1975  thegreatsociety  self-directedlearning  bankstreet  cuisinairerods  bankstreetreaders  newmath  wholelanguage  differentiation  howweteach  howwetaught  williamalcott  horacemann  henrybarnard  calvinism  johnholt  neilpostman  alfiekohn  johndewey  mariamontessori  factoryschools  class  poverty  control  newrochlle  alanshapiro  openeducation  open  robertmarzano  robertslavin  kipp  1971 
february 2014 by robertogreco
Big Bird, Meet Dick and Jane - John Holt - The Atlantic
"The operating assumption of the program is probably something like this: poor kids do badly in school because they have a “learning deficit." Schools, and school people, all assume that when kids come to the first grade they will know certain things, be used to thinking and talking in a certain way, and be able to respond to certain kinds ul questions and demands. Rich kids on the whole know all this; poor kids on the whole do not. Therefore, if we can just make sure that the poor kids know what the rich kids know by the time they get to school, they will do just as well there as the rich kids. So goes the argument. I don’t believe it. Poor kids and rich kids are more alike when they come to school than is commonly believed, and the difference is not the main reason poor kids do badly when they get there. In most ways, schools are rigged against the poor; curing “learning deficits,” by Head Start, Sesame Street , or any other means, is not going to change that.

The program asks, “How can we get children ready to learn what the schools are going to teach them?", instead of “How can we help them learn what the schools may never teach them?” This is the first of its lost, or not yet seen, opportunities—to be very different from school. Instead, it is like a conventional school run by supergifted teachers. It is full of little invisible lesson plans, complete with behavioral objectives and motivating devices. It assumes, like most schools, that nobody ever learns anything by himself, naturally, incidentally, as a byproduct of doing or attending to something important to him; that on the contrary, everything, however trivial, must be deliberately taught, and will be thought best if it is taught all by itself, cut off from all connections with the rest of life. Sesame Street schedules a couple of minutes to “teach” the difference between the words “more” and “less,” or between the words “think,” “hope,” “imagine"; to teach that the corners of a square are all alike, that the numeral 7 has the name “seven,” that people don’t change just because they put on different clothes, or whatever it may be. The continuum of, life, or experience, is everywhere destroyed; the separate bits of one Sesame Street program can be interchanged with the separate bits of any other.

Learning on Sesame Street, as in school, means learning Right Answers, and as in school, Right Answers come from grown-ups. We see children figuring things out. As in school, we hear children responding, without much animation or imagination, to leading questions put by adults. But we rarely see them figuring things out; in fact, we rarely see children doing anything. On two recent programs, children did a dance shown them by a grown-up, followed grown-ups in bringing cardboard hoxes so that Big Bird could make a tower of eleven of them, played a dull same-difference game with shoes, and sat mute while the grocery-store keeper asked them a question that none of them could answer. In one episode, two children played a game with a jigsaw puzzle as big as they were. But most of the time when we see children on the program, they are standing around, often looking uneasy, while an adult shows or tells them things, or asks school-style questions to which he obviously already has the answer"

"What we must do in helping anyone learn to read is to make very clear that writing is an extension of speech, that behind every written word there is a human voice speaking, and that reading is the way to hear what those voices are saying. Like the schools, Sesame Street far too often blurs and hides these truths. That is all the more unfortunate, because TV can make the point more clearly and vividly than a teacher in a classroom. Suppose that children were to hear a voice speaking and at the same time see the words, as they are spoken, appearing in print. Cartoon figures and the Muppets could have word balloons over their heads, as in comic strips, a convention which many children already know; even when live figures are speaking, the TV screen could be split, with the words appearing at the side—a TelePrompTer in reverse."

"A way of summing up all this is to say that Sesame Street still seems built on the idea that its job is to get children ready for school. Suppose it summoned up its courage, took a deep breath, and said, “We are the school.” Suppose it asked itself, not how to help children get better at the task of pleasing first-grade teachers, but how to help them get better at the vastly more interesting and important task—which they are already good at—of learning from the world and people around them."
1971  johnholt  learning  unschooling  deschooling  education  sesamestreet  children  reading  writing  schooliness 
november 2013 by robertogreco
The Tyranny of Stuctureless
"Contrary to what we would like to believe, there is no such thing as a structureless group. Any group of people of whatever nature that comes together for any length of time for any purpose will inevitably structure itself in some fashion. The structure may be flexible; it may vary over time; it may evenly or unevenly distribute tasks, power and resources over the members of the group. But it will be formed regardless of the abilities, personalities, or intentions of the people involved. The very fact that we are individuals, with different talents, predispositions, and backgrounds makes this inevitable. Only if we refused to relate or interact on any basis whatsoever could we approximate structurelessness -- and that is not the nature of a human group.

This means that to strive for a structureless group is as useful, and as deceptive, as to aim at an "objective" news story, "value-free" social science, or a "free" economy. A "laissez faire" group is about as realistic as a "laissez faire" society; the idea becomes a smokescreen for the strong or the lucky to establish unquestioned hegemony over others. This hegemony can be so easily established because the idea of "structurelessness" does not prevent the formation of informal structures, only formal ones. Similarly "laissez faire" philosophy did not prevent the economically powerful from establishing control over wages, prices, and distribution of goods; it only prevented the government from doing so. Thus structurelessness becomes a way of masking power, and within the women's movement is usually most strongly advocated by those who are the most powerful (whether they are conscious of their power or not). As long as the structure of the group is informal, the rules of how decisions are made are known only to a few and awareness of power is limited to those who know the rules. Those who do not know the rules and are not chosen for initiation must remain in confusion, or suffer from paranoid delusions that something is happening of which they are not quite aware.


Once the movement no longer clings tenaciously to the ideology of "structurelessness," it is free to develop those forms of organization best suited to its healthy functioning. This does not mean that we should go to the other extreme and blindly imitate the traditional forms of organization. But neither should we blindly reject them all. Some of the traditional techniques will prove useful, albeit not perfect; some will give us insights into what we should and should not do to obtain certain ends with minimal costs to the individuals in the movement. Mostly, we will have to experiment with different kinds of structuring and develop a variety of techniques to use for different situations. The Lot System is one such idea which has emerged from the movement. It is not applicable to all situations, but is useful in some. Other ideas for structuring are needed. But before we can proceed to experiment intelligently, we must accept the idea that there is nothing inherently bad about structure itself -- only its excess use.

While engaging in this trial-and-error process, there are some principles we can keep in mind that are essential to democratic structuring and are also politically effective:

1) Delegation of specific authority to specific individuals for specific tasks by democratic procedures. Letting people assume jobs or tasks only by default means they are not dependably done. If people are selected to do a task, preferably after expressing an interest or willingness to do it, they have made a commitment which cannot so easily be ignored.

2) Requiring all those to whom authority has been delegated to be responsible to those who selected them. This is how the group has control over people in positions of authority. Individuals may exercise power, but it is the group that has ultimate say over how the power is exercised.

3) Distribution of authority among as many people as is reasonably possible. This prevents monopoly of power and requires those in positions of authority to consult with many others in the process of exercising it. It also gives many people the opportunity to have responsibility for specific tasks and thereby to learn different skills.

4) Rotation of tasks among individuals. Responsibilities which are held too long by one person, formally or informally, come to be seen as that person's "property" and are not easily relinquished or controlled by the group. Conversely, if tasks are rotated too frequently the individual does not have time to learn her job well and acquire the sense of satisfaction of doing a good job.

5) Allocation of tasks along rational criteria. Selecting someone for a position because they are liked by the group or giving them hard work because they are disliked serves neither the group nor the person in the long run. Ability, interest, and responsibility have got to be the major concerns in such selection. People should be given an opportunity to learn skills they do not have, but this is best done through some sort of "apprenticeship" program rather than the "sink or swim" method. Having a responsibility one can't handle well is demoralizing. Conversely, being blacklisted from doing what one can do well does not encourage one to develop one's skills. Women have been punished for being competent throughout most of human history; the movement does not need to repeat this process.

6) Diffusion of information to everyone as frequently as possible. Information is power. Access to information enhances one's power. When an informal network spreads new ideas and information among themselves outside the group, they are already engaged in the process of forming an opinion -- without the group participating. The more one knows about how things work and what is happening, the more politically effective one can be.

7) Equal access to resources needed by the group. This is not always perfectly possible, but should be striven for. A member who maintains a monopoly over a needed resource (like a printing press owned by a husband, or a darkroom) can unduly influence the use of that resource. Skills and information are also resources. Members' skills can be equitably available only when members are willing to teach what they know to others.

When these principles are applied, they insure that whatever structures are developed by different movement groups will be controlled by and responsible to the group. The group of people in positions of authority will be diffuse, flexible, open, and temporary. They will not be in such an easy position to institutionalize their power because ultimate decisions will be made by the group at large. The group will have the power to determine who shall exercise authority within it."
feminism  politics  culture  community  activism  structurelessness  jofreeman  joreen  1971  1970  movements  organization  democracy  structure  horizontality  verticality  hierarchy  authority  elitism  groups  groupdynamics  via:mitchbostian 
july 2013 by robertogreco
When Meals Played the Muse - New York Times
"From the beginning, the idea was to establish not only a kind of perpetual dinner party but also a food-based philanthropy that would employ and support struggling artists, the whole endeavor conceived by Matta-Clark as a living, breathing, steaming, pot-clanging artwork.

“To Gordon, I think everything in life was an art event,” said Ms. Goodden, who now lives in a small town in New Mexico. “He had cooking all through his mind as a way of assembling people, like choreography. And that, in a way, is what Food became.”

In a catalog to accompany his retrospective, Elisabeth Sussman, the curator of the Whitney show, describes it as providing “the best picture of an artists’ utopia, in all its extraordinary ordinariness, that Matta-Clark imagined.”"
tinagirouard  robertfrank  rirkrittiravanija  filippomarinetti  thefuturistcookbook  philipglass  counterculture  alicewaters  robertkushner  trishabrown  1974  1971  janecrawford  hisachikatakahashi  robertrauschenberg  lcproject  openstudioproject  srg  cooking  donaldjudd  carolinegoodden  artists  allankaprow  supperclubs  dinnerparties  happenings  127prince  2007  nyc  restaurants  glvo  art  matta-clark  gordonmatta-clark 
april 2012 by robertogreco
Standard & Poor's Downgrade: How Debt Has Defined Human History - Speakeasy - WSJ
"in the Middle Ages…merchants had to develop reputations for scrupulous integrity—not just always paying their debts, but forgiving others’ debts if they were in difficulties, & being generally pillars of their communities. Merchants could be trusted w/ money because they convinced others that they didn’t think money was the most important thing…“credit,” “honor,” & “decency” became the same thing…

For much of human history, the great social evil…was the debt crisis. The masses of the poor would become indebted to the rich…lose flocks & fields, begin selling family members into peonage & slavery…uprisings…Periods dominated by credit money, where everyone recognized that money was just a promise, a social arrangement, almost invariably involve some kind of mechanism to protect debtors…

…since 1971, we did exactly the opposite. Instead of setting up great overarching institutions designed to protect debtors…[we] protect creditors."
culture  politics  history  economics  money  debt  1971  2011  middleages  medieval  credit  integrity  usuary  honor  decency  slavery  peonage  creditors  debtors  bankruptcy  debtforgiveness  wealth  disparity  debtceiling  society  imf  relgion  s&p 
august 2011 by robertogreco
Children of Troy « Snarkmarket
"This little correspondence cracked like lightning in my head. I mean, it’s no big deal; it’s a small thing, it’s a letter, they were both in Michigan, it makes perfect sense. And yet, and yet: Clifton Wharton, president of Michigan State University, and Marguerite Hart, librarian of Troy—a tangible thread connected them. And as soon as you realize that, you can’t help but imagine the other threads, the other connections, that all together make a net, woven before you were born, before you were even dreamed of—a net to catch you, support you, lift you up. Libraries and universities, books and free spaces—all for us, all of us, the children of Troy everywhere.

What fortune. Born at the right time."


"And it’s not the librarian laughing and crying at the same time here; it’s me. Every time I’ve read these letters, it’s me."
snarkmarket  robinsloan  libraries  troy  cityoftroy  books  memories  memory  childhood  reading  librarians  connections  knowledge  freespaces  letters  universities  michigan  michiganstate  ebwhite  isaacasimov  cliftonwharton  margueritehart  johnburns  1971  2011  publiclibraries  education  learning  experience  comments 
june 2011 by robertogreco
Raph’s Website » The perfect geek age?
"Was being born in 1971 the perfect time to be born a geek? ... [long list of examples here] ... Looking back on it, it makes me feel a bit sorry for those born ten years later. And I can’t judge ten years earlier, but so much of that seemed to hit at the right age. Looking back at history, it seems like the last big waves of popular invention like this were decades ago. Teens with hot rods? Engineering in the 20s? I see my kids now, and they are so clearly getting the finished products of so much, not the products in the process of invention… Am I wrong?"
1971  cv  history  childhood  transformation  videogames  dungeonsanddragons  libraries  internet  web  online  wikipedia  computers  programming  geek  via:blackbeltjones  raphkoster  mac  education  learning  culture  popculture  gamechanging  flux  google  sciencefiction  futureshock  starwars  comics 
may 2009 by robertogreco
Big Bird, Meet Dick and Jane by John Holt
"Suppose it [Sesame Street] asked itself, not how to help children get better at task of pleasing 1st-grade teachers, but how to help them get better at learning from world and people around them."
education  parenting  sesamestreet  schools  society  learning  tv  television  reading  unschooling  johnholt  1971  deschooling  schooling  writing 
march 2008 by robertogreco
A Special Supplement: Education Without School: How It Can Be Done - The New York Review of Books
"DreamAddictive es un proyecto colaborativo de arte y tecnología. Inicia en el 2003, en la ciudad de Tijuana a cargo de Carmen González y Leslie García"
alternative  education  homeschool  ivanillich  learning  lcproject  reform  change  deschooling  schools  children  society  highereducation  schooling  unschooling  1971 
august 2007 by robertogreco

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