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Yong Zhao "What Works May Hurt: Side Effects in Education" - YouTube
"Proponents of standardized testing and privatization in education have sought to prove their effectiveness in improving education with an abundance of evidence. These efforts, however, can have dangerous side effects, causing long-lasting damage to children, teachers, and schools. Yong Zhao, Foundation Distinguished Professor in the School of Education at the University of Kansas, will argue that education interventions are like medical products: They can have serious, sometimes detrimental, side effects while also providing cures. Using standardized testing and privatization as examples, Zhao, author of the internationally bestselling Who’s Afraid of the Big Bad Dragon? Why China Has the Best (and Worst) Education System in the World, will talk about his new book on why and how pursuing a narrow set of short-term outcomes causes irreparable harm in education."
yongzhao  2018  schools  schooling  pisa  education  testing  standardizedtesting  standardization  china  us  history  testscores  children  teaching  howweteach  howwelearn  sideeffects  privatization  tims  math  reading  confidence  assessment  economics  depression  diversity  entrepreneurship  japan  creativity  korea  vietnam  homogenization  intolerance  prosperity  tolerance  filtering  sorting  humans  meritocracy  effort  inheritance  numeracy  literacy  achievementgap  kindergarten  nclb  rttt  policy  data  homogeneity  selectivity  charterschools  centralization  decentralization  local  control  inequity  curriculum  autonomy  learning  memorization  directinstruction  instruction  poverty  outcomes  tfa  teachforamerica  finland  singapore  miltonfriedman  vouchers  resilience  growthmindset  motivation  psychology  research  positivepsychology  caroldweck  intrinsicmotivation  choice  neoliberalism  high-stakestesting 
7 weeks ago by robertogreco
UNBORED: The Essential Field Guide to Serious Fun
"The UNBORED team — coauthors Josh Glenn and Elizabeth Foy Larsen, and designer Tony Leone — are friends who got tired of lamenting the fact that we couldn’t find any activity books for families who enjoy getting unbored both indoors and outdoors, online and offline. So we decided to make one.

Our inspiration? Do-it-yourself guides from the 1970s like The Whole Earth Catalog, maker/builder websites like Instructables and Make, parenting blogs, old scouting manuals, and even Neal Stephenson's sci-fi novel The Diamond Age.

In creating our first book we drew on our own memories of childhood — the made-up games we played, the rhymes we used to figure out who was “It,” the handicrafts we enjoyed, you name it. We also drew on our experiences as parents of kids growing up in the 21st century… with the Internet and smartphones and apps. And we roped in a couple dozen scientist, activist, and maker friends to help out, too. Perhaps most importantly, we recruited three very talented artists — Mister Reusch, Heather Kasunick, and Chris Piascik — to contribute hundreds of illustrations."



"UNBORED GAMES
2014
Paperback, 176 pages

In the fall of 2014, Bloomsbury published the paperback UNBORED Games. In its 176 (full-color, richly illustrated) pages, you’ll find the rules to dozens of indoor, outdoor, online and offline games, including: back of the classroom games, bike rodeo games, jump rope games, alternate reality games, clapping games, apps and videogames, secret-rules games, drawing games, rock-paper-scissors games, card and dice games, backyard games, guerrilla kindness games, stress-relieving games, and geo-games.

PLUS
Expert essays by gamers Chris Dahlen, Catherine Newman, Stephen Duncombe, and Richela Fabian Morgan; Best Ever lists; DIY game-building projects; Secret History Comics; Q&As with Apps for Kids podcasters Mark and Jane Frauenfelder, Anomia inventor Andrew Innes, and others; Train Your Grownup features; classic literature excerpts; and brain-teasing Mindgames."



"Our second book received glowing reviews, too. (For example, the Minneapolis Star-Tribune described it as “chock-full of smart, totally not-lame ideas to amuse and give the brain a workout.”) So our team set to work on a third book…"



"UNBORED Adventure
2015
Paperback, 176 pages

In the fall of 2015, Bloomsbury published the paperback UNBORED Adventure. In its 176 (full-color, richly illustrated) pages, you’ll find adventure apps, adventure gear, adventure skills (from building a fire to open-mindedness), adventure-building projects (e.g., bean shooter, box kite, ghillie poncho, paracord bracelet, upcycled raft), indoor adventures (e.g., sewing your own ditty bag, survival origami), instant adventures, and outdoor adventures (from the pervasive game Assassin to fire-pit recipes to shootin’ craps).

PLUS
Expert essays by adventurers Chris Spurgeon, BikeSnobNYC, Catherine Newman, and Liz Lee Heinecke; Best Ever lists; Secret History Comics; Q&As with Joshua Foer and Dylan Thuras of Atlas Obscura, Playborhood author Mike Lanza, and urban biking activist Elly Blue, among others; Train Your Grownup features; and classic lit excerpts."



"Our third book was also well-received. We think it’s our best book yet! But a whole new phase of the UNBORED project was just beginning…"



"UNBORED ACTIVITY KITS [x4, so far]…
Unbored Disguises…
Unbored Treasure Hunt…
UNBORED Carnival kit…
UNBORED Time Capsule…"
books  children  classideas  parenting  fun  creativity  elizabethfoylarsen  joshglenn  nealstephenson  wholeearthcatalog  play  games  gaming  adventure 
11 weeks ago by robertogreco
The Creative Independent: Jonas Mekas on documenting your life
"Were you ever interested in writing a straightforward memoir about your life?

I don’t have time for that. There are fragments of that in this book, but I think my films are my biography. There are bits and fragments of my personal life in all of my films, so maybe someday I’ll put them together and that will be my autobiography."



"People talk a lot about your films, but you have a poetry practice as well.

Occasionally I still write poems. It comes from a different part of me. When you write, of course it comes from your mind, into your fingers, and finally reaches the paper. With a camera, of course there is also the mind but it’s in front of the lens, what the lens can catch. It’s got nothing to do with the past, but only the image itself. It’s there right now. When you write, you could write about what you thought 30 years ago, where you went yesterday, or what you want for the future. Not so with the film. Film is now.

Are most of your decisions intuitive? Is it a question of just feeling when something is right or when it isn’t?

I don’t feel it necessarily, but it’s like I am forced—like I have to take my camera and film, though I don’t know why. It’s not me who decides. I feel that I have to take the camera and film. That is what’s happening. It’s not a calculated kind of thing. The same when I write. It’s not calculated. Not planned at all. It just happens. My filmmaking doesn’t cost money and doesn’t take time. Because one can always afford to film 10 seconds in one day or shoot one roll of film in a month. It’s not that complicated. I always had a job of one kind of other to support myself because I had to live, I had to eat, and I had to film.

How do you feel about art schools? Is being an artist something that can be taught?

I never wanted to make art. I would not listen to anybody telling me how to do it. No, nobody can teach you to do it your way. You have to discover by doing it. That’s the only way. It’s only by doing that you discover what you still need, what you don’t know, and what you still have to learn. Maybe some technical things you have to learn for what you really want to do, but you don’t know when you begin. You don’t know what you want to do. Only when you begin doing do you discover which direction you’re going and what you may need on the journey that you’re traveling. But you don’t know at the beginning.

That’s why I omitted film schools. Why learn everything? You may not need any of it. Or while you begin the travel of the filmmaker’s journey, maybe you discover that you need to know more about lighting, for instance. Maybe what you are doing needs lighting. You want to do something more artificial, kind of made up, so then you study lights, you study lenses, you study whatever you feel you don’t know and you need. When you make a narrative film, a big movie with actors and scripts, you need all that, but when you just try to sing, you don’t need anything. You just sing by yourself with your camera or with your voice or you dance. On one side it is being a part of the Balanchine, on the other side it is someone dancing in the street for money. I’m the one who dances in the street for money and nobody throws me pennies. Actually, I get a few pennies… but that’s about it.

You’ve made lots of different kinds of films over many years. Did you always feel like you were still learning, still figuring it out as your went along?

Not necessarily. I would act stupid sometimes when people used to see me with my Bolex recording some random moment. They’d say, “What is this?” I’d say, “Oh nothing, it’s not serious.” I would hide from Maya Deren. I never wanted her to see me filming because she would say, “But this is not serious. You need a script!” Then I’d say, “Oh, I’m just fooling. I’m just starting to learn,” but it was just an excuse that I was giving, that I’m trying to learn. I always knew that this was more or less the materials I’d always be using. I was actually filming. There is not much to learn in this kind of cinema, other than how to turn on a camera. What you learn, you discover as you go. What you are really learning is how to open yourself to all the possibilities. How to be very, very, very open to the moment and permitting the muse to come in and dictate. In other words, the real work you are doing is on yourself."



"You are a kind of master archivist. I’m looking around this space—which is packed with stuff, but it all appears to be pretty meticulously organized. How important is it to not only document your work, but to also be a steward of your own archives.

You have to. For me there is constantly somebody who wants to see something in the archives, so I have to deal with it. I cannot neglect them. These are my babies. I have to take care of them. I learned very early that it’s very important to keep careful indexes of everything so that it helps you to find things easily when it’s needed. For example, I have thousands of audio cassettes, in addition to all the visual materials. I have a very careful index of every cassette. I know what’s on it. You tell me the name of the person or the period and I will immediately, within two or three minutes, be able to retrieve it. People come here and look around and say, “Oh, how can you find anything in this place?” No, I find it very easily.

I always carry a camera with me in order to capture or record a couple images and sometimes conversations. Evenings, parties, dinners, meetings, friends. Now, it’s all on video, but back when I was using the Bolex camera, I always had a Sony tape recorder in my pocket—a tiny Sony and that picked up sounds. I have a lot of those from the ’60s, ’70s, ’80s. Hundreds and hundreds. I have books which are numbered, each page has written down what’s on each numbered cassette. I don’t index everything, that would be impossible, but approximation is enough. I advise everyone to do this. Record things. Keep an index. It’s very important."



"Aside from all of those projects, do you still have a sort of day-to-day creative practice?

I never needed a creative practice. I don’t believe in creativity. I just do things. I grew up on a farm where we made things, grew things. They just grow and you plant the seeds and then they grow. I just keep making things, doing things. Has nothing to do with creativity. I don’t need creativity."



"And the last remaining company that still made VCRs recently went out of business.

So, all of this new technology, it’s okay for now… but it’s very temporary. You could almost look at it from a spiritual angle. All technology is temporary. Everything falls to dust anyway. And yet, you keep making things."
jonasmekas  2017  film  filmmaking  poetry  documentation  archives  collage  books  writing  creativity  howwewrite  biography  autobiography  art  work  labor  technology  video  vcrs  temporary  ephemeral  ephemerality  making  howwework  howwemake  journals  email  everyday 
12 weeks ago by robertogreco
On Bullsh*t Jobs | David Graeber | RSA Replay - YouTube
"In 2013 David Graeber, professor of anthropology at LSE, wrote an excoriating essay on modern work for Strike! magazine. “On the Phenomenon of Bullshit Jobs” was read over a million times and the essay translated in seventeen different languages within weeks. Graeber visits the RSA to expand on this phenomenon, and will explore how the proliferation of meaningless jobs - more associated with the 20th-century Soviet Union than latter-day capitalism - has impacted modern society. In doing so, he looks at how we value work, and how, rather than being productive, work has become an end in itself; the way such work maintains the current broken system of finance capital; and, finally, how we can get out of it."
davidgraeber  bullshitjobs  employment  jobs  work  2018  economics  neoliberalism  capitalism  latecapitalism  sovietunion  bureaucracy  productivity  finance  policy  politics  unschooling  deschooling  labor  society  purpose  schooliness  debt  poverty  inequality  rules  anticapitalism  morality  wealth  power  control  technology  progress  consumerism  suffering  morals  psychology  specialization  complexity  systemsthinking  digitization  automation  middlemanagement  academia  highered  highereducation  management  administration  adminstrativebloat  minutia  universalbasicincome  ubi  supplysideeconomics  creativity  elitism  thecultofwork  anarchism  anarchy  zero-basedaccounting  leisure  taylorism  ethics  happiness  production  care  maintenance  marxism  caregiving  serviceindustry  gender  value  values  gdp  socialvalue  education  teaching  freedom  play  feminism  mentalhealth  measurement  fulfillment  supervision  autonomy  humans  humnnature  misery  canon  agency  identity  self-image  self-worth  depression  stress  anxiety  solidarity  camaraderie  respect  community 
january 2019 by robertogreco
David Graeber on a Fair Future Economy - YouTube
"David Graeber is an anthropologist, a leading figure in the Occupy movement, and one of our most original and influential public thinkers.

He comes to the RSA to address our current age of ‘total bureaucratization’, in which public and private power has gradually fused into a single entity, rife with rules and regulations, whose ultimate purpose is the extraction of wealth in the form of profits.

David will consider what it would take, in terms of intellectual clarity, political will and imaginative power – to conceive and build a flourishing and fair future economy, which would maximise the scope for individual and collective creativity, and would be sustainable and just."
democracy  liberalism  directdemocracy  borders  us  finance  globalization  bureaucracy  2015  ows  occupywallstreet  governance  government  economics  politics  policy  unschooling  unlearning  schooliness  technology  paperwork  future  utopianism  capitalism  constitution  rules  regulation  wealth  power  communism  authority  authoritarianism  creativity  neoliberalism  austerity  justice  socialjustice  society  ideology  inequality  revolution  global  international  history  law  legal  debt  freedom  money  monetarypolicy  worldbank  imf  markets  banks  banking  certification  credentials  lobbying  collusion  corruption  privatization  credentialization  deschooling  canon  firstamendment 
january 2019 by robertogreco
Contra* podcast — Mapping Access
"a podcast about disability, design justice, and the lifeworld. Subscribe on iTunes, Stitcher, and Google Play, or play from our website."

[See also:
https://www.mapping-access.com/podcast/2018/12/29/episode-1-contra-design-with-sara-hendren

"In this first episode of the podcast, we talk to design researcher Sara Hendren, who teaches at Olin College of Engineering, about disability, critical design, and poetic creation.

Show notes and transcription

++++

Themes:

Critical Design

Theory of critical design revised by disability

Writing as/part of critical design

Disability politics in relation to design

Translational work and science communication; critical design as a “friendly Trojan horse”

Things as an index of ideas

STEAM, knowledge, and power

Links:

Sara Hendren (https://sarahendren.com)

Abler blog (https://ablersite.org/)

Adaptation and Ability Lab (http://aplusa.org/)

Wendy Jacob and Temple Grandin, Squeeze Chair (https://patient-innovation.com/post/1047?language=en)

Sketch Model project at Olin College (http://www.olin.edu/collaborate/sketch-model/)

Ivan Illich, Tools for Conviviality (https://www.goodreads.com/book/show/253076.Tools_for_Conviviality)

Karen Barad, Meeting the Universe Halfway (https://www.dukeupress.edu/Meeting-the-Universe-Halfway/)

Aimi Hamraie, Building Access: Universal Design and the Politics of Disability (https://www.upress.umn.edu/book-division/books/building-access)

++++

Introduction Description:

The podcast introductory segment is composed to evoke friction. It begins with sounds of a wheelchair rhythmically banging down metal steps, the putter of an elevator arriving at a person’s level, and an elevator voice saying “Floor two, Floor three.” Voices begin to define Contra*. Layered voices say “Contra is friction…Contra is…Contra is nuanced…Contra is transgressive…Contra is good trouble…Contra is collaborative…Contra is a podcast!…Contra is a space for thinking about design critically…Contra is subversive…Contra is texture…”

An electric guitar plays a single note to blend out the sound.

The rhythmic beat of an electronic drum begins and fades into the podcast introduction.

++++

Episode Introduction:

Welcome to Contra*: the podcast about disability, design justice, and the lifeworld. This show is about the politics of accessible and critical design—broadly conceived—and how accessibility can be more than just functional or assistive. It can be conceptual, artful, and world-changing.

I’m your host, Aimi Hamraie .  I am a professor at Vanderbilt University, a designer and design researcher, and the director of the Critical Design Lab, a multi-institution collaborative focused on disability, technology, and critical theory.  Members of the lab collaborate on a number of projects focused on hacking ableism, speaking back to inaccessible public infrastructures, and redesigning the methods of participatory design—all using a disability culture framework. This podcast provides a window into the kinds of discussions we have within the lab, as well as the conversations we are hoping to put into motion. So in coming episodes, you’ll also hear from myself and the other designers and researchers in the lab, and we encourage you to get in touch with us via our website, www.mapping-access.com or on Twitter at @criticaldesignl

In this first episode of the podcast, we talk to design researcher Sara Hendren, who teaches at Olin College of Engineering, about disability, critical design, and poetic creation.

Sara and I talk about her work in the fields of critical design and assistive technology, including how she came to this work, how she is thinking about strategy and practice, and also her current work on bridging the humanities with STEM education."]
accessibility  disability  aimihamraie  ableism  podcasts  disabilitystudies  criticaldesign  olincollege  assistivetechnology  technology  poeticcreation  creativity  sarahendren  ivanillich  toolsforconviviality  wendyjacob  templegrandin  stem  knowledge  power  karenbarad  adaptation  materialculture  socialimagination  art  design  thinking  inclusivity  capitalism  howwewrite  howwethink  making  communication  academia  scholarship  ethics  politics  difference  jargon  language 
january 2019 by robertogreco
Captain Awkward on Twitter: "Fellow #ADHD kids, what elaborate new planning/organization systems and rituals are we going to embrace enthusiastically for the first half of January?"
"Fellow #ADHD kids, what elaborate new planning/organization systems and rituals are we going to embrace enthusiastically for the first half of January?

If we can crowdsource data about price, fiddliness, cult following, # of dedicated subreddits, # of naturally organized people who swore it would change our lives or said “if I can do it anyone can!”, etc, then I can get a jump start on shame spiral trajectory calculations!

My poor therapists (all): Have you tried to-do lists?

Me: Yes! I love making them, but I constantly forget to check. Also putting a task on the list can “solve” its urgency & I forget. Whereas if I DON’T write it, the terror of forgetting might keep it in focus!

Therapists: [gif]

Me: I basically exist inside a giant perpetual-motion machine of prcrastination, forgetting stuff, guilt, and anxiety and sometimes I can harness it as motivation!

Therapists: [gif]

Therapists: But you DO accomplish things?

Me: Yes?

Therapists: But...how?

Me: Oh, that’s easy, I have enough raw intelligence & ability that sometimes the crippling fear of failure makes a volcano instead of an abyss, and work erupts out of the crater instead of collapsing in.

Therapists: But...wouldn’t be easier to keep a to-do list?

Me: Obviously!

Therapists: So, what CAN we work on?

Me: Could we maybe make the creative work volcanoes a little bigger and the crushing paralysis & shame abysses a little smaller?

Therapists: [gif]

In all seriousness, the thing about getting finally getting dx’d with #ADHD that helps me most isn’t the meds, which do mitigate it a bit, but that I stopped hating myself for being this way.

My whole childhood & life before diagnosis, my intelligence and literally everything I am good at was used as proof that I must be lazy & deliberately fucking up career & academic & household stuff out of spite.

The paradox of #ADHD - being excellent at complex, high-stimulus tasks and fuck-all at routine, “easy” tasks was a weapon in the hands of parents, teachers, & employers and a constant abusive echo in my brain.

What I internalized was that accomplishments that were fun or that came easy to me had no value, only the ones that involve effort “count.” But the things that involved the most effort for me were mundane tasks that came easy to others, so they had no value, either.

“But you are so good at ______ it should be easy to _____?” became “But I am so good at ____, I should be good at ____ and since I am not actually good at ____ I must be a hopeless fuckup.”

I also internalized a fallacy that I was not “allowed” to do rewarding ambitious enjoyable things until all my “chores” were done. Meaning I set impossible traps for myself for YEARS b/c I would never get the chores done?

TBH sometimes the right thing for me to do is put the laptop down & clean the house but also one main reason I can be a prolific writer is an internal shift in permissions, like, chores CAN actually wait if I’m in the grip of an idea, & I DON’T have to read/answer every email.

My condition comes with gifts like creativity and intense bursts of focus & enthusiasm and it is ok to ride those bursts and enjoy them and give my effort & time to “fun” work. It is also ok to kinda suck at some things.

This article was a turning point for me in getting dx’d - I had raised the prospect before and been told I was “too smart” & “too high-functioning.” Therapist was using (incredibly common) idea of hyperactive boys. https://www.theatlantic.com/health/archive/2013/04/adhd-is-different-for-women/381158/ ["ADHD Is Different for Women"]

This book by Sari Solden, rec’d by a friend, was also really helpful: https://itunes.apple.com/us/book/women-attention-deficit-disorder-embrace-your-differences/id548946872?mt=11 ["Women With Attention Deficit Disorder: Embrace Your Differences and Transform Your Life"]

Finally, #ADHD is buds with Depression & Anxiety, and a lot of its symptoms overlap with PTSD. If you never get a clear ADHD dx it doesn’t mean you are not having real trouble with executive function. Your treatment (esp. meds) might differ, tho, so get checked out if you can.

Ok, actually finally finally finally there is tons of productivity & organizing advice from people who are naturally good at organization. You will often recognize it by the word “just” - “I just take 10 seconds to put things back where they belong!” “I just make lists!”

For us #ADHD buds this advice can be so, so, so overwhelming. It isn’t factually untrue (It does save time to put things away as you go? Or, er, I believe organized people when they say this?) but your instinct that the word “just” does not apply to you is CORRECT.

If the actual tips sound helpful and you want to try them, by all means! We can work on new habits and find better workarounds. But if it’s difficult, please know, that’s expected & you’re not imagining it. Please also don’t add it to the ways you beat yourself up.

I tweet for the kids who got their messy desks dumped out as an example to others. I tweet for the ones who never once brought a permission slip home, and got it signed, and brought that same piece of paper back in time for the field trip.

I tweet for the kids who peed their pants sometimes not b/c they weren’t potty-trained but b/c they got too absorbed in something & forgot to switch tasks.

I tweet for #ADHD couples, esp. brides, who are like “I want to marry YOU but what the hell is WEDDING PLANNING and why do people think I know how?”

I tweet for the ones who are panicking that “you have so much potential!” is turning into “you *had* so much potential.” Every day is a race against the sun and our own runaway brains.

BTW I also tweet for the parents who are like “oh crap I lost my kid’s permission slip...again...”

Also, hi to the people who really need an assistant but have no idea how to delegate things to an assistant and/or find the whole assistant thing terrifying b/c someone will know how truly, truly disorganized you are & how much you rely on adrenaline & charisma. [gif]

I see you, I am you, I have been you, and I have been your assistant. Let the nice person help you if you possibly can. They want to. They *like* it. You just have to be nice and honest & give them money.

If anyone has ever told you, patiently & kindly, that the best way to accomplish a big project is to break it down into small, digestible chunks, and you’ve nodded in agreement but internally screamed b/c you know a long list = more ways to lose focus, come here: [gif]"

[Via/see also: https://twitter.com/emilesnyder/status/1078020204016263168

This thread made me cry. I have never considered ADHD as something that might describe me. Depression, anxiety, yes. ADHD? Not so much.

But holy shit does this thread have my number re: procrastination, organization, shame spirals, etc..

https://twitter.com/cblack__/status/1078060070078840833
Oh, but Emile. It's not you with the disorder, it's society. You're just made for a better, slower, simpler, more attuned, more holistic world. 90% of the shit people do when they get shit done is actually destroying the planet. If everybody just did less we could save the world.

https://twitter.com/cblack__/status/1078106307536728064
Have you seen this research on the cultural dimensions of attentional stance? https://pdfs.semanticscholar.org/3dbc/c3420a3d1afa391fb46370cac52cf59ba98a.pdf ["Open Attention as a Cultural Tool for Observational Learning" by Suzanne Gaskins

"ABSTRACT:
Learning through observation in everyday activities is widely recognized in the ethnographic literature as a central way that children learn from others. There are two well-described
characteristics of learning through observation: participation in meaningful activities with people who are important in the children’s lives and a belief that children are active, motivated learners who take initiative to garner experiences and make meaning from them. Gaskins and Paradise (2010) have proposed that there is a third characteristic central to observational learning: open attention, defined as attention that takes in information from the full environmental context (that is, wide-angled) and is sustained over time (that is, abiding). This paper will describe open attention in some detail, giving examples of how open attention is encouraged in a variety of cultures, its value as a component of observational learning, the role of concentration, and the implications for understanding children’s learning (in and out of school) and play. The presentation will conclude that, while learning through observation is present in all cultures, in cultures where open attention is encouraged and expected, and where the responsibility for learning is given to the children, observational learning is both more powerful and more central to children’s mastery of the full range of cultural knowledge." ]]
attention  adhd  neurodiversity  2018  productivity  unschooling  deschooling  education  learning  organization  anxiety  depression  context  procrastination  shame  forgetfulness  executivefunction  creativity  add  children  childhood  schools  schooling 
december 2018 by robertogreco
Bay Area Disrupted: Fred Turner on Vimeo
"Interview with Fred Turner in his office at Stanford University.

http://bayareadisrupted.com/

https://fredturner.stanford.edu

Graphics: Magda Tu
Editing: Michael Krömer
Concept: Andreas Bick"
fredturner  counterculture  california  opensource  bayarea  google  softare  web  internet  history  sanfrancisco  anarchism  siliconvalley  creativity  freedom  individualism  libertarianism  2014  social  sociability  governance  myth  government  infrastructure  research  online  burningman  culture  style  ideology  philosophy  apolitical  individuality  apple  facebook  startups  precarity  informal  bureaucracy  prejudice  1960s  1970s  bias  racism  classism  exclusion  inclusivity  inclusion  communes  hippies  charism  cultofpersonality  whiteness  youth  ageism  inequality  poverty  technology  sharingeconomy  gigeconomy  capitalism  economics  neoliberalism  henryford  ford  empowerment  virtue  us  labor  ork  disruption  responsibility  citizenship  purpose  extraction  egalitarianism  society  edtech  military  1940s  1950s  collaboration  sharedconsciousness  lsd  music  computers  computing  utopia  tools  techculture  location  stanford  sociology  manufacturing  values  socialchange  communalism  technosolutionism  business  entrepreneurship  open  liberalism  commons  peerproduction  product 
december 2018 by robertogreco
The Gay Love Stories of Moomin and the Queer Radicality of Tove Jansson | Autostraddle
"In 1955, Tove Jansson asked Tuulikki Pietilä to dance. They had sat all night around the gramophone together, guarding it whilst they played their records so that nobody could change the music. But Pietilä said no: same-sex relationships were still illegal in Finland — and would be until 1971 — and – the threat of judgement from peers and colleagues was intense. Queer people know well the hollow of panic, deep in the gut, when you think that your disguises may have failed. It is why, historically, we have avoided large displays of affection; why our histories take the form of private letters, fragments hidden inside books and diaries. The story of Tove and Tuulikki is no different; soon after she refused to dance, Tuulikki sent Tove a card with a cat, fat and striped, hand-drawn on the front. A code that meant: I am thinking of you. After telephone calls over the holidays, Tove finally set off to Tuulikki’s studio. It was March, and snowing, when she walked over; the streets were dark and the fat flakes fell in drifts that made the roads shine. When she got there, the studio warm and light like a ship’s cabin at sea, they drank wine and played French records.

Jansson’s queerness is often left out in stories of her life. Puffin editions of Moomin books talked about how she lived alone on her Finnish island; documentaries still talk of Pietilä as a lifelong friend. Jansson is no
 misnomer, rather, she fits in neatly with the trend of avoiding the personal lives of gay people
 – particularly lesbians – that exists to this day. Society dissolves queer realities: erases the two bodies sharing a bed, wrapped around each other, the two bodies fucking, the moments and hours and days, the holding hands and arguing and kissing and small talk. As seen throughout history, gayness is coded as dangerous for children. It is portrayed something purely sexual or purely chaste, rarely afforded the complexity and nuance afforded to heterosexual relationships. For Jansson to be a successful children’s writer she was portrayed as sexless, loveless. It’s particularly egregious when queerness informs the work of a writer to that extent that it did for Jansson. Not only do the themes of loneliness, family and love shape her work for adults and children, but she included characters based on her female lovers in many of her works.

Before meeting Pietilä, Jansson had been in a creative crisis. She knew the demand was high for another Moomin book, but dreaded the thought of repeating herself – she longed for new ground to tread, for the freedom of inspiration. As her fame had increased, so had her awareness that the Moomins were no longer hers alone; they now appeared on waste paper baskets and brooches and wrapping paper, and the public always wanted more. In 1955 she wrote of her conflicting feelings, saying, “I can’t recall exactly when I became hostile to my work, or how it happened and what I should do to recapture my natural pleasure in it.” The knowledge that she had to write another Moomin book loomed large in her mind. It was precisely Pietilä’s influence that helped overcome her writer’s block: “That I was able to write Moominland Midwinter was entirely due to Tooti,” Jansson stated to biographer Boel Westin in Tove Jansson: Life, Art Words. Out of their love letters the character of Too-tikky had been formed, first as an inky doodle of her lover’s likeness (‘My Tootikki!’, she nicknamed Pietilä), and then slowly as a fleshed-out form.

Moominland Midwinter was a radical departure from the sun-drenched summers of the Moomin valley that readers had seen before — sailing boats framed by orange-slice suns, picnics on the terrace, dances in the woods. Instead, Moomin wakes up from hibernation in the cold dark of a Finnish winter, pine trees blanketed with snow. He is disoriented and scared, eager to wake up his mother for comfort. However, when she turns away from him in her sleep he realises he must deal with this new world — and his yearning for spring — on his own. There to help him is Too-tikky, as no-nonsense as her flesh and blood counterpart, who describes to him the dancing colours of the Northern Lights, states “One has to discover everything for oneself.” Moomin realises that the winter is needed, for after it follows the spring, lush and bright and alive. It’s hard not to read this as a mirror of Jansson and Pietilä’s relationship, blooming out of the snow and cold — in Moominland Midwinter, our narrator states “There are such a lot of things that have no place in summer and autumn and spring. Everything that’s a little shy and a little rum. Some kinds of night animals and people that don’t fit in with others and that nobody really believes in.” The winter gives us as queer people the chance to show ourselves, to claim the world as ours.

This wasn’t the first lover she had included in her stories: Vivica Bandler, the married theatre director with whom Jansson had an affair in 1946, became the character of Bob. Bob’s counterpart, Thingumy, was Tove, who wrote to Bandler, “No one understands their language, but that doesn’t matter so long as they themselves know what it’s all about… Do you love me? Of dourse you coo! Sanks and the thame to you!” This exchange ended up almost entirely complete in Jansson’s next Moomin book, Finn Family Moomintroll, where Thingumy and Bob are introduced as intertwined, inextricable creatures, their names better known in conjunction than when on their own. They even look the same, only differentiated by the hat Bob wears. By placing them, idiosyncratic and unmissable, at the centre of the story, Jansson was able to make a public declaration of love in a private manner. Her passion – her willingness to depict their relationship for anybody who could decipher the code – led Bandler to warn her to be secretive. Not only was their love illegal, but it was classed as a psychiatric condition, and its reveal would have cost both women their livelihoods and families.

Queerness is Jansson’s works is never as simplistic as direct representation of lovers. It’s something that seeped into the pages, flowing along the lines in the illustrations. In a letter to Bandler, Jansson talks of how “everything has changed since I met you! Every tone is more vivid, every colour cleaner, all my perceptions are sharper.” Already so occupied with “pure, fresh colours” – fleshy greens and cornflower blues and sherbet yellows – Jansson’s passion for Bandler allowed her to utilise them further in her work, encouraging her to use them with a giddy joy on the front cover of Finn Family Moomintroll. Her renewed passion for colour around this time is also prominent in the murals she painted in Helsinki Town Hall, into which she painted Bandler, a tiny Moomintroll and herself; fan in one hand, cigarette in the other, turning her blue eyes away from the viewer’s gaze.

Throughout Finn Family Moomintroll there is a presence, cold and dark and flat, sucking the light from the sun, wilting the flowers. The Groke is the closest the Moomin books get to an antagonist, although even she is treated with sympathy. She is grey as a storm cloud, and wherever she goes the plants and creatures die. She is the antithesis of Thingumy and Bob’s happiness, the embodiment of loneliness to their companionship. It is they who get to keep suitcase of rubies in the end of the story, a treasure many long for but one whose dazzling contents are only available to those who have ‘the right’ to own it — their love makes them the only ones suitable for the honour. It’s tempting to read the Groke as an allegory for the bigotry of a society that seeks to separate lovers, and for the misery that follows. In typical Tove fashion, however, the Groke is not a figure of hatred or derision, but one of pity.

It is Too-Ticky who, in Moominland Midwinter, encourages us to empathise with the Groke — to consider how desperately lonely a life untouched by love must be. This is not to say that Jansson did not face the isolation that is inherent in the lives of most queer people — although she remained with Pietilä for the rest of her life, and although they shared connected apartments and their island cottage, she could never discuss her love with her family. Jansson was open with her friends, telling them that she the “happiest and most genuine solution for me will be to go over to the spook side;” a wonderfully matter-of-fact way of resolving her own conflicts over her sexuality. But both her father and her mother were unable to discuss it with her — Jansson describes how her father tried to speak with her after he had heard gossip, but ultimately, he could not say the “difficult word homosexual.” Jansson suspected that her mother knew, but never raised the subject, writing “I can accept this […] But it feels lonely.”

Only after her parents had died did Jansson write Fair Play, a collection of short stories that fictionalised her relationship with Pietilä. The characters in the book, Jonna and Mari, live as Jansson and Pietilä do – in adjoining apartments with connecting studios. They are – respectively – an artist, and an illustrator and writer. The stories are quiet: Jonna and Mari watch westerns together, try to protect their fishing nets from a storm, bicker over the way paintings hang on the wall. They travel to America, as their real-life counterparts did, and sleep in a tent when a guest stays in their island cottage. But it’s everyday-ness is precisely what makes it so calmly radical. It is a portrait of a lifelong lesbian couple, allowing us to see into their daily lives, the minutiae of how they live, and on display at the centre of everything is their love for one another. In her introduction Ali Smith brilliantly summarises it as “affectionate discretion […] a good-working love, a homage to the kind of coupledom that rarely receives such homage.” No longer forced to be… [more]
tovejansson  tuulikkipietilä  2018  moomins  sexuality  writing  hannahilliams  queerness  relationships  creativity  finland  love  boelwestin  1955  1946  vivicabandler  language  groke  empathy  literature  howwerite  homosexuality  alismith  affection  discretion 
november 2018 by robertogreco
Surveillance Kills Freedom By Killing Experimentation | WIRED
"In my book Data and Goliath, I write about the value of privacy. I talk about how it is essential for political liberty and justice, and for commercial fairness and equality. I talk about how it increases personal freedom and individual autonomy, and how the lack of it makes us all less secure. But this is probably the most important argument as to why society as a whole must protect privacy: it allows society to progress.

We know that surveillance has a chilling effect on freedom. People change their behavior when they live their lives under surveillance. They are less likely to speak freely and act individually. They self-censor. They become conformist. This is obviously true for government surveillance, but is true for corporate surveillance as well. We simply aren’t as willing to be our individual selves when others are watching.

Let’s take an example: hearing that parents and children are being separated as they cross the U.S. border, you want to learn more. You visit the website of an international immigrants’ rights group, a fact that is available to the government through mass internet surveillance. You sign up for the group’s mailing list, another fact that is potentially available to the government. The group then calls or emails to invite you to a local meeting. Same. Your license plates can be collected as you drive to the meeting; your face can be scanned and identified as you walk into and out of the meeting. If instead of visiting the website you visit the group’s Facebook page, Facebook knows that you did and that feeds into its profile of you, available to advertisers and political activists alike. Ditto if you like their page, share a link with your friends, or just post about the issue.

Maybe you are an immigrant yourself, documented or not. Or maybe some of your family is. Or maybe you have friends or coworkers who are. How likely are you to get involved if you know that your interest and concern can be gathered and used by government and corporate actors? What if the issue you are interested in is pro- or anti-gun control, anti-police violence or in support of the police? Does that make a difference?

Maybe the issue doesn’t matter, and you would never be afraid to be identified and tracked based on your political or social interests. But even if you are so fearless, you probably know someone who has more to lose, and thus more to fear, from their personal, sexual, or political beliefs being exposed.

This isn’t just hypothetical. In the months and years after the 9/11 terrorist attacks, many of us censored what we spoke about on social media or what we searched on the internet. We know from a 2013 PEN study that writers in the United States self-censored their browsing habits out of fear the government was watching. And this isn’t exclusively an American event; internet self-censorship is prevalent across the globe, China being a prime example.

Ultimately, this fear stagnates society in two ways. The first is that the presence of surveillance means society cannot experiment with new things without fear of reprisal, and that means those experiments—if found to be inoffensive or even essential to society—cannot slowly become commonplace, moral, and then legal. If surveillance nips that process in the bud, change never happens. All social progress—from ending slavery to fighting for women’s rights—began as ideas that were, quite literally, dangerous to assert. Yet without the ability to safely develop, discuss, and eventually act on those assertions, our society would not have been able to further its democratic values in the way that it has.

Consider the decades-long fight for gay rights around the world. Within our lifetimes we have made enormous strides to combat homophobia and increase acceptance of queer folks’ right to marry. Queer relationships slowly progressed from being viewed as immoral and illegal, to being viewed as somewhat moral and tolerated, to finally being accepted as moral and legal.

In the end it was the public nature of those activities that eventually slayed the bigoted beast, but the ability to act in private was essential in the beginning for the early experimentation, community building, and organizing.

Marijuana legalization is going through the same process: it’s currently sitting between somewhat moral, and—depending on the state or country in question—tolerated and legal. But, again, for this to have happened, someone decades ago had to try pot and realize that it wasn’t really harmful, either to themselves or to those around them. Then it had to become a counterculture, and finally a social and political movement. If pervasive surveillance meant that those early pot smokers would have been arrested for doing something illegal, the movement would have been squashed before inception. Of course the story is more complicated than that, but the ability for members of society to privately smoke weed was essential for putting it on the path to legalization.

We don’t yet know which subversive ideas and illegal acts of today will become political causes and positive social change tomorrow, but they’re around. And they require privacy to germinate. Take away that privacy, and we’ll have a much harder time breaking down our inherited moral assumptions.

The second way surveillance hurts our democratic values is that it encourages society to make more things illegal. Consider the things you do—the different things each of us does—that portions of society find immoral. Not just recreational drugs and gay sex, but gambling, dancing, public displays of affection. All of us do things that are deemed immoral by some groups, but are not illegal because they don’t harm anyone. But it’s important that these things can be done out of the disapproving gaze of those who would otherwise rally against such practices.

If there is no privacy, there will be pressure to change. Some people will recognize that their morality isn’t necessarily the morality of everyone—and that that’s okay. But others will start demanding legislative change, or using less legal and more violent means, to force others to match their idea of morality.

It’s easy to imagine the more conservative (in the small-c sense, not in the sense of the named political party) among us getting enough power to make illegal what they would otherwise be forced to witness. In this way, privacy helps protect the rights of the minority from the tyranny of the majority.

This is how we got Prohibition in the 1920s, and if we had had today’s surveillance capabilities in the 1920s it would have been far more effectively enforced. Recipes for making your own spirits would have been much harder to distribute. Speakeasies would have been impossible to keep secret. The criminal trade in illegal alcohol would also have been more effectively suppressed. There would have been less discussion about the harms of Prohibition, less “what if we didn’t…” thinking. Political organizing might have been difficult. In that world, the law might have stuck to this day.

China serves as a cautionary tale. The country has long been a world leader in the ubiquitous surveillance of its citizens, with the goal not of crime prevention but of social control. They are about to further enhance their system, giving every citizen a “social credit” rating. The details are yet unclear, but the general concept is that people will be rated based on their activities, both online and off. Their political comments, their friends and associates, and everything else will be assessed and scored. Those who are conforming, obedient, and apolitical will be given high scores. People without those scores will be denied privileges like access to certain schools and foreign travel. If the program is half as far-reaching as early reports indicate, the subsequent pressure to conform will be enormous. This social surveillance system is precisely the sort of surveillance designed to maintain the status quo.

For social norms to change, people need to deviate from these inherited norms. People need the space to try alternate ways of living without risking arrest or social ostracization. People need to be able to read critiques of those norms without anyone’s knowledge, discuss them without their opinions being recorded, and write about their experiences without their names attached to their words. People need to be able to do things that others find distasteful, or even immoral. The minority needs protection from the tyranny of the majority.

Privacy makes all of this possible. Privacy encourages social progress by giving the few room to experiment free from the watchful eye of the many. Even if you are not personally chilled by ubiquitous surveillance, the society you live in is, and the personal costs are unequivocal."
freedom  surveillance  authoritarianism  privacy  2018  bruceschneier  experimentation  ostracization  prohibition  history  legalization  society  liberty  creativity  unschooling  deschooling  us  parenting  schooling  learning  howwelearn  behavior 
november 2018 by robertogreco
Keire Johnson en Instagram: “Shout out @finhan_ for making this after watching Minding the Gap! What I take from this piece (personally) : The paper bag over the…”
"Shout out @finhan_ for making this after watching Minding the Gap!
What I take from this piece (personally) : The paper bag over the skater's face to me represents how skateboarding suppresses all the negative emotions you can feel growing up and acts almost as a cloak of some sort.

When you take the bag off after skating, all of the bullshit comes back to you. Skateboarding cures heartache however it has limited powers. It can't cure everything.

That's where other creative outlets come in.
Music, art, dance, writing, and ect.
I am luck enough to have multiple outlets but I recommend finding a creative outlet that works for you. It's good for you.
Thanks again @finhan_"
keirejohnson  skateboarding  skating  2018  adolescence  youth  teens  self-medication  escape  creativity  music  art  arts  dance  writing  outlets  identity 
september 2018 by robertogreco
Virgil Abloh - YouTube
"Young architects can change the world by not building buildings."

"Irony is a tool for modern creativity."

[via: https://twitter.com/bobbyjgeorge/status/1024691065843081218 ]
virgilabloh  via:bobbygeorge  unproduct  nonproduct  2017  creativity  opportunity  irony 
august 2018 by robertogreco
Time for Self | Akilah S. Richards [Episode 61]
"In this episode, Atlanta-based SDE facilitator and education entrepreneur, ANTHONY GALLOWAY II, speaks on moving past the mental aspect of self-care over to the literal practice. You’ll also learn about two Atlanta events in support of Self-Directed Education, both of which Anthony is playing a major role in bringing to the city. Also, the Jamaican patois term “Dat nuh mek it” basically means “that isn’t nearly enough.” In other words, something needs leveling up, because in its current state, it just won’t do. You’re welcome! #POCinSDE"
akilahrichards  anthonygalloway  unschooling  deschooling  self-care  self-directed  self-directedlearning  creativity  art  howweteach  howwelearn  work  labor  focus  artleisure  leisurearts  play  teaching  mentoring  practice  criticism  advice  decisionmaking  schools  schooling  schooliness  decisions  skepticism  pedagogy  priorities  process  technology  2018 
july 2018 by robertogreco
Ideas in cars, honking
[To these examples, I’d add what Earl Sweatshirt says about moments and his process in this interview:
https://www.npr.org/sections/microphonecheck/2015/03/24/394987116/earl-sweatshirt-im-grown
https://pinboard.in/u:robertogreco/b:30b20a46fed3 ]

"There was one great spot in the Dave Chappelle episode, though, that I felt was worth transcribing and sharing. Seinfeld asks Chappelle whether he feels like, knowing he can do a great TV show, he shouldn’t try to do another one.
CHAPPELLE: Sometimes the offering drives. If I [have] an idea, it should drive. It’s like the idea says, “Get in the car.” And I’m like, “Where am I going?” And the idea says, “Don’t worry, I’m driving.” And then you just get there.

SEINFELD: The idea’s driving.

CHAPPELLE: Sometime’s I’m shotgun. Sometimes I’m in the f—ing trunk. The idea takes you where it wants to go.

SEINFELD: That’s great.

CHAPPELLE: And then other times, there’s me, and it’s my ego, like, “I should do something!”

SEINFELD: “I should be driving!”

CHAPPELLE: Yeah.

SEINFELD: That’s not good.

CHAPPELLE: No, ‘cause there’s no idea in the car. It’s just me. That formula doesn’t work.

SEINFELD: If the idea is in the car honking, going, “Let’s go…” It pulls up in front of your house.

CHAPPELLE: That’s exactly right.

SEINFELD: “You’re in your pajamas. Get dressed!”

CHAPPELLE: “I’m not ready!” “You can go like this.” “Where are we going? What are we doing?” “Don’t worry about it. You’ll see.”

Although, there’s another great story about cars and ideas, told by Elizabeth Gilbert:
Tom [Waits], for most of his life, he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sort of uncontrollable creative impulses that were totally internalized.

But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles, and this is when it all changed for him. And he’s speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, it’s gorgeous, and he longs for it, but he has no way to get it. He doesn’t have a piece of paper, or a pencil, or a tape recorder.

So he starts to feel all of that old anxiety start to rise in him like, “I’m going to lose this thing, and I’ll be be haunted by this song forever. I’m not good enough, and I can’t do it.” And instead of panicking, he just stopped. He just stopped that whole mental process and he did something completely novel. He just looked up at the sky, and he said, “Excuse me, can you not see that I’m driving?”

“Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you. Otherwise, go bother somebody else today. Go bother Leonard Cohen.”

And his whole work process changed after that. Not the work, the work was still oftentimes as dark as ever. But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it back where it came from, and realized that this didn’t have to be this internalized, tormented thing.

Gilbert interviewed Waits in 2002 and he elaborated on his attitude:
“Kids are always working on songs and throwing them away, like little origami things or paper airplanes. They don’t care if they lose it; they’ll just make another one.” This openness is what every artist needs. Be ready to receive the inspiration when it comes; be ready to let it go when it vanishes. He believes that if a song “really wants to be written down, it’ll stick in my head. If it wasn’t interesting enough for me to remember it, well, it can just move along and go get in someone else’s song.” “Some songs,” he has learned, “don’t want to be recorded.” You can’t wrestle with them or you’ll only scare them off more. Trying to capture them sometimes “is trying to trap birds.” Fortunately, he says, other songs come easy, like “digging potatoes out of the ground.” Others are sticky and weird, like “gum found under an old table.” Clumsy and uncooperative songs may only be useful “to cut up as bait and use ’em to catch other songs.” Of course, the best songs of all are those that enter you “like dreams taken through a straw.’ In those moments, all you can be, Waits says, is grateful.

Brian Eno puts it in terms of surrender and control:
On one side of Eno’s scale diagram, he writes “control”; on the other “surrender”. “We’ve tended to dignify the controlling end of the spectrum,” he says. “We have Nobel prizes for that end.” His idea is that control is what we generally believe the greats – Shakespeare, Picasso, Einstein, Wagner – were about. Such people, the argument goes, controlled their chosen fields, working in isolation, never needing any creative input from others. As for surrender, that idea has become debased: it’s come to mean what the rest of us do when confronted by a work of genius. “We’ve tended to think of the surrender end as a luxury, a nice thing you add to your life when you’ve done the serious work of getting a job, getting your pension sorted out. I’m saying that’s all wrong.”

He pauses, then asks: “I don’t know if you’ve ever read much about the history of shipbuilding?” Not a word. “Old wooden ships had to be constantly caulked up because they leaked. When technology improved, and they could make stiffer ships because of a different way of holding boards together, they broke up. So they went back to making ships that didn’t fit together properly, ships that had flexion. The best vessels surrendered: they allowed themselves to be moved by the circumstances.

“Control and surrender have to be kept in balance. That’s what surfers do – take control of the situation, then be carried, then take control. In the last few thousand years, we’ve become incredibly adept technically. We’ve treasured the controlling part of ourselves and neglected the surrendering part.” Eno considers all his recent art to be a rebuttal to this attitude. “I want to rethink surrender as an active verb,” he says. “It’s not just you being escapist; it’s an active choice. I’m not saying we’ve got to stop being such controlling beings. I’m not saying we’ve got to be back-to-the-earth hippies. I’m saying something more complex.”
austinkleon  davechappelle  jerryseinfeld  elizabethgilbert  tomwaits  brianeno  control  flow  ideas  howwethink  creativity  neoteny  children  surrender  tension  howwework  howwelearn  productivity  earlsweatshirt  2018  rap  hiphop  thebenerudakgositsile 
july 2018 by robertogreco
🔠 Jack and the Magic Key | Buttondown
"It’s 2007: I’m sat in the kitchen watching a family friend and her four year old son talk to my mom. Over the course of a few minutes I notice how this kid, Jack, is starting to get bored; his eyes roll into the back of his head and all of his limbs begin to fidget independently of the host as if he’s possessed by the spirit of boredom itself.

In a flash my mom notices this before her friend does. Her eyes dart around the room, looking for something, anything, to entertain Jack with. Coming up short, my mom grabs the closest thing that was on the table: a key. I think it unlocked one of the older cabinets we had lying around back then so it was very nondescript and boring; it didn’t have any patterns on it, or engravings, and it certainly wasn’t imbued with ancient magic of any kind.

But my mom gets down to Jack’s level and hijacks his attention with the key. She twirls it between her fingers and Jack’s eyes expand to the size of saucers.

My mom whispers in his ear.

“This key opens a door somewhere in our home,” her hand outstretched, sweeps across the air as if our house was a castle in the Scottish highlands, a scary and adventurous place that little Jack might get lost in. “And this very special key opens a very special door. So Jack…” My mom pauses for emphasis “…you’re the only one that can help me find it.”

At this point all of Jack’s boredom had been converted into pure, unbridled excitement and his smile almost hopped off his round face in the rush of this new adventure. He spent the rest of the afternoon darting around the house trying the key on everything; on books and chairs, walls and fireplaces, and even his mother’s knee.

*******

I didn’t realize this until I was an adult but when I was a young kid my family went bankrupt and my father’s successful business disappeared almost over night. Our small family, just my dad, my mom, my brother and me, lost everything. Our grandparents died and we’d been ostracized from cousins, sisters and distant brothers before I was born and so there was no-one to call for backup.

After my dad finally relented in telling us the details decades later I remembered that for years my brother and I had slept on the floor without a mattress. We didn’t have wallpaper. We had no toys or even a television until we were much older.

Whilst my dad was throwing himself into the maw of tax collectors and shady debt men, my mom was left dealing with two young children almost entirely alone. And so she learned quickly how to entertain us on a budget. Without any money to pay for toys my mom had to make the ordinary extraordinary. Our empty bedroom became a jungle, the couch a train, the stairway a place where Pokémon could be found and fought. And yes, even boring nondescript keys became potent with magic and prophesy.

That unbound excitement in boring things, that sort of curiosity in the world around us is what we so desperately need more of. We need excuses to play, to experiment, to dream during the daytime. And I think it was that key that my mother held in her hand that afternoon that made me want to be a writer and a designer. It’s what ultimately sparked my curiosity in typography, letters, and writing as well because I knew that I wanted to give others that feeling of infinite hope and that sense of wonder, too.

This is most certainly going to be a non-sequitur but for some reason all of this reminds me of Mary Reufle’s Madness, Rack and Honey where the poet describes what the perfect English Literature class in a highschool might look like. In the book, Mary writes:
My idea for a class is you just sit in the classroom and read aloud until everyone is smiling, and then you look around, and if someone is not smiling you ask them why, and then you keep reading—it may take many different books—until they start smiling, too.
"
robinrendle  education  curiosity  boredom  2018  parenting  play  maryreuffle  learning  howwelearn  unschooling  engagement  resourcefulness  cv  experimentation  creativity  keys  scrappiness  lcproject  openstudioproject  nexttonothing 
july 2018 by robertogreco
The iPad as a fast, precise tool for creativity – UX Collective
"Using these five premises, we built the prototype app as follows:

1. Stylus required: We take advantage of everything at the disposal of the average human: two hands (including ten individual fingers) and the stylus as distinct input methods, sometimes used in tandem.

2. Put your hands all over it: Dossier has almost zero chrome, allowing the user’s content to occupy the entire screen, and very few buttons activated by a single tap.

3. No-wait commands: Nothing in the Dossier command vocabulary requires long-press or other delay. The common operation of moving a card via one-finger drag responds instantly, metaphorically like sliding index cards around on a table.

4. Read the manual: Dossier has a cheatsheet available in the main menu which describes the full palette of commands available to the user.

All of this comes together with point 5, the command vocabulary. Commands such as copy, paste, and delete (normally hidden behind long-press context menus on mobile applications) are available by drawing a glyph with your stylus. We recognize glyphs using the $1 Unistroke recognizer as implemented in Swift."

[video: https://www.youtube.com/watch?v=cMLCj3ZvBUc ]

[See also: https://www.inkandswitch.com/ ]
ipad  ipadpro  creativity  applications  ui  ux  glyphs  input  stylus  2018  juliaroggatz  milošmilikić  adamwiggins 
july 2018 by robertogreco
Birds Art Life - Kyo Maclear
"In Birds Art Life, writer Kyo Maclear embarks on a yearlong, big city adventure chasing after birds, and along the way offers a luminous meditation on the nature of creativity and the quest for a good and meaningful life.

For Vladimir Nabokov, it was butterflies. For John Cage, it was mushrooms. For Sylvia Plath, it was bees. Each of these artists took time away from their work to become observers of natural phenomena. In 2012, Kyo Maclear met a local Toronto musician with an equally captivating side passion—he had recently lost his heart to birds. Curious about what prompted this young urban artist to suddenly embrace nature, Kyo decides to follow him for a year and find out.

Birds Art Life explores the particular madness of loving and chasing after birds in a big city. Intimate and philosophical, moving with ease between the granular and the grand view, it celebrates the creative and liberating effects of keeping your eyes and ears wide open, and explores what happens when you apply the core lessons of birding to other aspects of life. On a deeper level, it takes up the questions of how we are shaped and nurtured by our parallel passions, and how we might come to cherish not only the world’s pristine natural places but also the blemished urban spaces where most of us live."
books  toread  kyomaclear  2018  birds  birding  nture  life  creativity  writing  art  urban  cities  observation  wildlife  animals  multispecies  morethanhuman  vladimirnabokov  johncage  butterflies  mushrooms 
june 2018 by robertogreco
Science / Fiction — Carol Black
"‘Evidence-based’ education, scientific racism, & how learning styles became a myth."



"1. The Debunkers
2. The Map and the Territory
3. The Evidence
4. The Territory Beyond the Map
5. Here Be Dragons"



"A disturbing feature of this discourse in education is the frequency with which it takes the form of male researchers and pundits telling female educators that their views on learning are cognitively childish and irrational and should therefore be disregarded. Cognitive psychologist Daniel Willingham, a prominent debunker, has shared some rather patronizing speculations as to why the vast majority of (mostly female) teachers persist in thinking their students have different learning styles ("I think learning styles theory is widely accepted because the idea is so appealing. It would be so nice if it were true.") His paternal tone is especially disturbing since he makes his case by failing to mention the existence of legitimate competing views from respected scientists and education researchers."



"But despite the debunkers' undeniable passion on the topic, the fact is that there are extremely reputable scientists on both sides of this debate. In other words, as Grundmann and Stehr put it, "the basic rift in these debates is not between lay people and experts but between two alliances that advocate different courses of action based on divergent basic values and knowledge claims... we see representatives of science and the lay public on both sides."

So what are the two alliances in the case of learning styles? And what are their divergent basic values?

Luckily, you don't have to dig very deep to find out. If you review the writings of the most vocal learning styles 'debunkers,' you quickly find that they are almost always simply advocates for traditional, teacher-controlled direct instruction. They tend to favor a traditional "core knowledge" curriculum, traditional forms of discipline, and they adhere to a traditional IQ-based view of intelligence. In other words, they’re just educational conservatives. (In the UK they openly call themselves "trads" as opposed to "progs.") They trumpet any research that supports their preferences and ignore or attempt to discredit any research that leans the other way. They don't like progressive or self-directed or culturally relevant approaches to education. They don't tend to concern themselves overmuch with less tangible aspects of children's well-being like, say, "happiness" or "creativity" or "mental health." They define "what works" in education in terms of test scores.

But the reality is that you can’t say ‘what works” in education until you answer the question: works for what? As Yong Zhao explains in “What Works May Hurt: Side Effects in Education,” it’s reasonable to assume, in education as in medicine, that any given intervention may have negative as well as positive effects; if we want to claim to be evidence-based, we need to look at both. What raises test scores may lower creativity or intrinsic motivation, and vice versa; this study, for example, found that direct instruction hastened young children's mastery of a specific task, but lowered exploratory behavior. So “what the research supports” depends on what you value, what you care most about, what kind of life you want for your children."



"The first thing to understand about learning styles is that there is no agreed-on definition of the term. Multiple frameworks have been proposed, from the popular Visual-Auditory-Kinesthetic framework, to the Concrete-Abstract framework, to the Holistic-Analytical, Impulsive-Reflective, Convergent-Divergent, Field-Dependent-Field-Independent, Cognitive-Affective-Physiological –– one literature review identified 71 different models. As Kirschner and van Merriënboer grouse, if we consider each learning style as dichotomous (e.g. visual vs. verbal) that means there are 2 to the power of 71 possible combinations of learning styles – more than the number of people alive on earth.

They say that like it’s a bad thing. But as astrophysicist Neil DeGrasse Tyson remarked recently, “In science, when human behavior enters the equation, things go nonlinear. That's why physics is easy and sociology is hard.”

Zhang and her frequent collaborators Robert Sternberg and Stephen Rayner, co-editors of The Handbook of Intellectual Styles, are not fans of the 'debunkers.' They use the term intellectual style as an "umbrella term for all style constructs," (including learning styles, cognitive styles, perceptual styles, and thinking styles) which relate to "people's preferred ways of processing information and dealing with tasks." (Notice the word "preferred" here, since that will come up later.) As these authors see it, intellectual style differences are complex, involving cognitive, affective, physiological, psychological, and sociological dimensions. Researchers Maria Kozhevnikov, Carol Evans, and Stephen Kosslyn use the term cognitive style (which includes learning style constructs), to describe "patterns of adaptation to the external world that develop through interaction with the surrounding environment on the basis of innate predispositions, the interactions among which are shaped by changing environmental demands."

The most promising style constructs, in Kozhevnikov's view, are not the narrow visual-auditory-kinesthetic (V-A-K) perceptual categories, but the richer constructs of "context-dependency vs. independency, rule-based vs. intuitive processing, internal vs. external locus of control, and integration vs. compartmentalization." These cognitive tendencies are neither set in stone nor completely malleable; they intersect with cognition at multiple levels, from perception to concept formation to higher-order cognitive processing to meta-cognitive processing.

So it's complicated. And yet despite what researchers Elena Grigorenko and Samuel Mandelman call "the very fine texture" of the "intertwined threads of intelligence and personality" that make learning styles so devilishly hard to define, in practice these differences are not at all difficult to see.

Which is probably why somewhere between 75 and 90% of teachers believe they exist.

In self-directed learning situations where children are able to follow their curiosity in their own ways, differences that might be muted or masked in a controlled instruction setting become very clearly visible. Sensory preferences intersect with social, emotional, and cognitive differences in complex and individual ways that profoundly shape how each child enters and explores and takes hold of the world. One child will spend quiet hours poring over illustrated books about science or history; another child is quickly bored by those, but gets deeply engaged in active social projects like building or filmmaking or citizen science. One child listens in on adult conversations and remembers everything she hears, absorbing knowledge like a sponge; another child creates and constructs knowledge in her own hands-on ways, writing her first book before she reads one. One child is observant and cautious, always making sure of things before venturing into unfamiliar terrain; another child is bold and intuitive, diving in head first and filling in the gaps later in a "fake it till you make it" spirit. The river moves steadily toward the sea, but it follows many divergent pathways, and the shortest distance between two points may not be a straight line.

In other words, human learning differences are complex, multi-dimensional, and difficult to definitively pin down, but this much is clear: the kids have different styles of learning. So how does something so intuitively obvious and readily observed cease to exist in the eyes of the debunkers?"



"The debunkers admit that people have fairly stable learning preferences. They also admit that people have variable abilities in visual v. auditory memory, etc. When you combine preference with ability –– e.g. "I have a good visual memory, and I prefer information presented visually" –– that’s probably what many speakers of the English language understand by the term “learning style.”

So that thing? That exists.

But here’s where the crucial elision occurs, and the claim shifts to the matching hypothesis. In a literature review of learning styles research, Pashler et al. state it this way: the theory of learning styles is only confirmed if we can successfully sort individuals into groups “for which genuine group-by-treatment interactions can be demonstrated.”

What are “group-by-treatment” interactions? Well, in this scenario the teacher diagnoses and sorts the learners into groups, applies a randomized instructional “treatment” to each group, and then administers a test to determine which “treatment” worked better –– like a drug trial.

It's important to note that the debunkers' claim is thus based almost entirely on studies of teacher-controlled direct instruction; they don't involve scenarios where learners have agency. But the problem with studying learning in teacher-controlled settings is that it may be unclear whether you're measuring something about the learning or something about the teaching. In other words, you have to be sure that "Treatment A" isn't just a better or more interesting lesson than "Treatment B."

How can you solve that problem? Simple. By excluding from the list of methodologically acceptable studies anything that involves the kind of creative activities that good teachers might come up with to address the needs of diverse learners.

From the standpoint of strict scientific method, this is, of course, correct; your experimental protocol should control every variable except the one you're testing. How can you achieve this? By further simplification, of course: by creating a lesson so lacking in complexity that it can’t possibly be interesting to anyone. Like memorizing a random list of words.

Here’s where you run … [more]
carolblack  learningstyles  evidence  2018  paulkirschner  jeroenvanmerriënboer  li-fangzhang  mariakozhevnikov  carolevans  elenagrigorenko  stephenkosslyn  robertsternberg  learning  education  data  danielwillingham  daviddidau  joanneyatvin  power  yongzhao  research  unschooling  deschooling  directinstruction  children  happiness  creativity  well-being  iq  intelligence  traditional  testing  intrinsicmotivation  mastery  behavior  howwelearn  self-directed  self-directedlearning  ignorance  franksmith  race  racism  oppression  intersectionality  coreknowledge  schooling  schooliness  homeschool  multiliteracies  differences  hierarchy  participation  participatory  democracy  leannebetasamosakesimpson  andrealandry  pedagogy  teaching  howweteach  colonization  leisterman  ibramkendi  standardizedtesting  standardization  onesizefitsall  cornelpewewardy  cedarriener  yanaweinstein 
june 2018 by robertogreco
Opinion | The Magic of a Cardboard Box - The New York Times
"On April 20, Nintendo released a new line of accessories for its best-selling Switch game console. Rather than being digital add-ons, they were physical ones: punch-and-fold parts engineered to turn the Switch console into a piano, a fishing rod or a robot. All are made of cardboard.

On March 4, Walmart ads shown during the Oscars centered on shipping boxes. The writer and director Dee Rees, nominated for “Mudbound,” created a 60-second ad in which the threat of bedtime gets incorporated into a sci-fi wonderland a little girl has imagined inside a blue cardboard box.

In June 2014, Google handed out kits for a low-cost virtual reality headset to be used with a smartphone. The headset was named Cardboard, for what it was mostly made of, and users assembled the units themselves.

In April 2012, “Caine’s Arcade,” an 11-minute short featuring a boy named Caine Monroy, was widely shared on the internet. Caine had spent his 2011 summer vacation building an arcade in the front of his father’s East Los Angeles auto-parts store out of the boxes the parts came in. He had the freedom to create an environment because cardboard comes cheap, and his father gave him space.

These 21st-century storytellers turned to cardboard for the same reasons that children have long preferred the box to the toy that came in it: cardboard is light and strong, easy to put up, quick to come down and, perhaps most important, inexpensive enough for experiment. Cardboard constructions can be crushed, painted, recycled and stuck back together. Cardboard furniture can be adjusted as children grow, and cardboard creations become more sophisticated as children gain skills: It is as malleable as the body and the mind.

Technology companies’ embrace of cardboard’s cool suggests something parents and teachers never forgot: The box is an avatar of inspiration, no charging required. Cardboard is the ideal material for creativity, and has been since the big purchase, and the big box, became a fixture of American postwar homes.

Corrugated cardboard boxes were introduced in the 1880s, and slowly replaced wooden crates as the shipping method of choice. Robert Gair, a paper bag manufacturer in Brooklyn, realized that he could slice and crease paper on his machines in a single step. A box could quickly be cut out and scored, creating a flat blank ready to be assembled as needed, the same construction method exploited by Google and Nintendo. Because flattened boxes were easier to ship and distribute, manufacturers could buy them in bulk, assemble, and then ship their own product to consumers.

As household objects grew larger, the play potential of those boxes increased. The purchase of a new washing machine was a cause for celebration in my neighborhood as a child, as it meant access to a new playhouse in somebody’s yard. Dr. Benjamin Spock praised the cardboard box as an inexpensive alternative to a ride-on car or a readymade cottage. In 1951, Charles and Ray Eames mocked up a version of the packing boxes for their Herman Miller storage furniture with pre-printed lines for doors, windows and awnings: When the adults bought a bookshelf, their kids would get a free toy.

Cardboard was considered such a wonder material during this era that Manhattan’s Museum of Contemporary Craft (now the Museum of Arts and Design) devoted a 1967-1968 exhibition, “Made with Paper,” to the medium. With funding from the Container Corporation of America, the curator Paul J. Smith turned the museum galleries into a three-dimensional paper wonderland. The CCA also funded a cardboard playground created by students at the Parsons School of Design that included pleated trees, an enveloping sombrero and a movable maze for children to explore.

James Hennessey and Victor Papanek’s “Nomadic Furniture,” published in 1973, was part of a renaissance in DIY instruction, one that emphasized the cardboard’s open-source bona fides, as online instructions for making your own Google Cardboard did. The “Nomadic” authors demonstrated how to create an entire cardboard lifestyle, one that could be tailored to different sizes, ages and abilities.

Cardboard sets you free from the average, as Alex Truesdell discovered when she began to design furniture with children with disabilities. Truesdell, inspired by another 1970s cardboard carpentry book, developed play trays, booster seats, high chairs and other assistive devices made of corrugated cardboard that could help children with disabilities participate fully in society. As founder of the Adaptive Design Association, Ms. Truesdell was named a 2015 MacArthur Fellow for her work. Her organization offers classes and consultation in design and methods at no and low cost, and expects participants to pass on their knowledge. Cardboard, as a material, wants to be free.

Cardboard’s central role in childhood has not gone unnoticed: in 2005, the cardboard box was inducted into the National Toy Hall of Fame. “We were particularly motivated by the exceptional qualities that cardboard boxes hold for inspiring creative, open-ended play,” says Christopher Bensch, vice president for collections and chief curator at the Strong National Museum of Play in Rochester. Nirvan Mullick, the filmmaker who made “Caine’s Arcade,” went on to found a nonprofit group, Imagination.org, that organizes an annual “global cardboard challenge” — one taken up by over a million kids in 80 countries.

At a time when toys have become ever more complex and expensive, it is worth returning to the box, seeing it not as trash but as a renewable resource for play.

For my daughter’s seventh birthday, she requested a cardboard-themed party. (I swear, I had nothing to do with it.) “Cardboard creations” is a highlight of “choice time” at her school, where kindergartners and first-graders have an end-of-day craft session with shoeboxes and paper towel rolls.

We gave up recycling for several weeks before the party and accumulated an embarrassingly large pile in the center of the living room. When the kids arrived, I waved them toward the boxes and bins of glue sticks, washi tape, paint, wrapping paper scraps and stickers.

“Make whatever you want,” I said, and they did."
alexandralange  cv  cardboard  2018  victorpapanek  nintendo  caine'sarcade  hermanmiller  benjaminspock  jameshennessey  diy  making  makers  alextruesdell  design  disabilities  disability  choicetime  recycling  eames  charleseames  rayeames  robertgair  technology  boxes  creativity  imagination  cainmonroy 
june 2018 by robertogreco
Dr. Kate Antonova on Twitter: "If anyone ever asked me, as a college prof, what qualities I'd like to see in my incoming students (no one ever has, tho a number of non-profs have told me what I'm supposed to want), it's this: curiosity and a reading habit
"If anyone ever asked me, as a college prof, what qualities I'd like to see in my incoming students (no one ever has, tho a number of non-profs have told me what I'm supposed to want), it's this: curiosity and a reading habit.

[Links to: "How Our Obsession With College Prep Hurts Kids"

https://www.chronicle.com/article/How-Our-Obsession-With-College/243459?key=3gZXXhLQjFMTjaMwNwzCEQpsINeRL6GkHu8ch6mHb8ZREuWEf6Qmo5gM5YChCxE0RmoxbHVSemFhLWJTcnJBUndoVFpqMFBBeXVYajZhaW9GMmdBbktRY1MwWQ ]

The other really important thing for success in college, IMO, is self-regulation, but that's a super-hard thing for everybody & esp kids who are still developing cognitively. I see no value, & a lot of harm, in forcing regulation before it's developmentally appropriate.

Plus, IME, if you have enough curiosity, you end up regulating yourself in ways that are nearly impossible for a task you're not into. So it all comes back to curiosity.

The other thing that'd be nice - but is not essential - to see in incoming freshmen is an accurate sense of what college is for. Most people are pretty madly and deeply misinformed on that, and that's harming kids.

Too many kids come to college bc they're told it's necessary, or bc it's the only way to a decent job. Both are lies. They should come, when they're ready, because it's the best way to achieve next-level critical thought specific to one or more disciplines.

So we're back to curiosity again. But the reading part is at least as important, & is interrelated. I'm not an expert on instilling curiosity or encouraging reading in k-12. But I'm damn sure standardized testing isn't the answer & neither is traditional, required homework.

I'm pretty certain, too, that seven hours of mostly sitting still and listening isn't terribly useful (and at the elementary level it's downright cruel).

I don't think anything I've said here is earth-shattering. Yet the conventional wisdom about what makes public k-12 education "good" is soooooo far off the mark.

If I cld fantasize ab what I'd like my future students to have done before college, it'd be this: read & write every day, a variety of texts; interact in a sustained way w lots of different ppl; & practice creative problem-solving in small groups, guided by knowledgeable adults.

That's something public schools *could* do, they just don't, because it's not what the public wants. Even the private schools that do some of that are usually pretty notoriously bad at exposing students to people different from themselves.

I've taught everyone from super-elite Ivy students from private high schools to the kids struggling to stay in CUNY after k-12 in troubled NYC publics. They were ALL missing out in different ways. The best students are always, always the readers.

The best of the best I've ever taught have been readers from backgrounds that happened, for whatever reasons, to expose them to a wide variety of circumstances.

School is almost never what brought those students either of those advantages.

But it could be."
kateantonova  highered  highereducation  colleges  universities  education  curiosity  learning  purpose  2018  cognition  problemsolving  creativity  lcproject  openstudioproject  sfsh  tcsnmy  cv  k12  statistics  calculus  reading  howwelearn  howweteach  highschool  publicschools  schools  schooling  children  adolescence  diversity  exposure 
may 2018 by robertogreco
My website is a shifting house next to a river of knowledge. What could yours be? – The Creative Independent
"The web is what we make it

While an individual website could be any of those metaphors I mentioned above, I believe the common prevailing metaphor—the internet as cloud—is problematic. The internet is not one all-encompassing, mysterious, and untouchable thing. (In early patent drawings depicting the internet, it appears as related shapes: a blob, brain, or explosion.) These metaphors obfuscate the reality that the internet is made up of individual nodes: individual computers talking to other individual computers.

[image]

The World Wide Web recently turned 29. On the web’s birthday, Tim Berners Lee, its creator, published a letter stating the web’s current state of threat. He says that while it’s called the “World Wide Web,” only about half the world is connected, so we should close this digital divide.

But at the same time, Berners Lee wants to make sure this thing we’re all connecting to is truly working for us, as individuals: “I want to challenge us all to have greater ambitions for the web. I want the web to reflect our hopes and fulfill our dreams, rather than magnify our fears and deepen our divisions.”

[image]

“Metaphor unites reason and imagination,” says George Lakoff and Mark Johnson in their book, Metaphors We Live By (1980). “Metaphors are not merely things to be seen beyond. In fact, one can see beyond them only by using other metaphors. It is as though the ability to comprehend experience through metaphor were a sense, like seeing or touching or hearing, with metaphors providing the only ways to perceive and experience much of the world. Metaphor is as much a part of our functioning as our sense of touch, and as precious.”

Instead of a cloud, let’s use a metaphor that makes the web’s individual, cooperative nodes more visible. This way, we can remember the responsibility we each have in building a better web. The web is a flock of birds or a sea of punctuation marks, each tending or forgetting about their web garden or puddle home with a river of knowledge nearby.

If a website has endless possibilities, and our identities, ideas, and dreams are created and expanded by them, then it’s instrumental that websites progress along with us. It’s especially pressing when forces continue to threaten the web and the internet at large. In an age of information overload and an increasingly commercialized web, artists of all types are the people to help. Artists can think expansively about what a website can be. Each artist should create their own space on the web, for a website is an individual act of collective ambition."
laurelschwulst  knowledge  webdev  webdesign  internet  web  online  2018  websites  design  flexibility  purpose  creativity  learning  howwelearn  accumulation  accretion  making  murmurations  metaphor  clouds  birds  georgelakoff  markjohnson  completeness  unfinished  wonder  fredrogers  storage  archives  html 
may 2018 by robertogreco
DAVID GRAEBER / The Revolt of the Caring Classes / 2018 - YouTube
"The financialisation of major economies since the '80s has radically changed the terms for social movements everywhere. How does one organise workplaces, for example, in societies where up to 40% of the workforce believe their jobs should not exist? David Graeber makes the case that, slowly but surely, a new form of class politics is emerging, based around recognising the centrality of meaningful 'caring labour' in creating social value. He identifies a slowly emerging rebellion of the caring classes which potentially represents just as much of a threat to financial capitalism as earlier forms of proletarian struggle did to industrial capitalism.

David Graeber is Professor of Anthropology, London School of Economics and previously Assistant Professor and Associate Professor of Anthropology at Yale and Reader in Social Anthropology at Goldsmiths, University of London. His books include The Utopia of Rules: On Technology, Stupidity, and the Secret Joys of Bureaucracy (2015) Debt: The First 5000 Years (2011) and Fragments of an Anarchist Anthropology (2004). His activism includes protests against the 3rd Summit of the Americas in Quebec City in 2001, and the 2002 World Economic Forum in New York City. Graeber was a leading figure in the Occupy Wall Street movement, and is sometimes credited with having coined the slogan, 'We are the 99 percent'.

This lecture was given at the Collège de France on the 22nd March 2018."
davidgraeber  care  caring  teaching  nursing  economics  capitalism  labor  work  employment  compensation  resentment  bullshitjobs  finance  politics  policy  us  uk  workingclass  intellectuals  intellectualism  society  manufacturing  management  jobs  liberalism  values  benefits  nobility  truth  beauty  charity  nonprofit  highered  highereducation  activism  humanrights  os  occupywallstreet  opportunity  revolution  revolt  hollywood  military  misery  productivity  creation  creativity  maintenance  gender  production  reproduction  socialsciences  proletariat  wagelabor  wage  salaries  religion  belief  discipline  maintstreamleft  hospitals  freedom  play  teachers  parenting  mothers  education  learning  unions  consumption  anarchism  spontaneity  universalbasicincome  nonprofits  ubi 
may 2018 by robertogreco
The Creative Process, by James Baldwin · SFMOMA
[via: https://www.sfmoma.org/exhibition/nothing-stable-under-heaven/ ]

"Perhaps the primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid; the state of being alone. That all men are, when the chips are down, alone, is a banality—a banality because it is very frequently stated, but very rarely, on the evidence, believed. Most of us are not compelled to linger with the knowledge of our aloneness, for it is a knowledge that can paralyze all action in this world. There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed. None of these things can be done alone. But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

The state of being alone is not meant to bring to mind merely a rustic musing beside some silver lake. The aloneness of which I speak is much more like the aloneness of birth or death. It is like the fearless alone that one sees in the eyes of someone who is suffering, whom we cannot help. Or it is like the aloneness of love, the force and mystery that so many have extolled and so many have cursed, but which no one has ever understood or ever really been able to control. I put the matter this way, not out of any desire to create pity for the artist—God forbid!—but to suggest how nearly, after all, is his state the state of everyone, and in an attempt to make vivid his endeavor. The state of birth, suffering, love, and death are extreme states—extreme, universal, and inescapable. We all know this, but we would rather not know it. The artist is present to correct the delusions to which we fall prey in our attempts to avoid this knowledge.

It is for this reason that all societies have battled with the incorrigible disturber of the peace—the artist. I doubt that future societies will get on with him any better. The entire purpose of society is to create a bulwark against the inner and the outer chaos, in order to make life bearable and to keep the human race alive. And it is absolutely inevitable that when a tradition has been evolved, whatever the tradition is, the people, in general, will suppose it to have existed from before the beginning of time and will be most unwilling and indeed unable to conceive of any changes in it. They do not know how they will live without those traditions that have given them their identity. Their reaction, when it is suggested that they can or that they must, is panic. And we see this panic, I think, everywhere in the world today, from the streets of New Orleans to the grisly battleground of Algeria. And a higher level of consciousness among the people is the only hope we have, now or in the future, of minimizing human damage.

The artist is distinguished from all other responsible actors in society—the politicians, legislators, educators, and scientists—by the fact that he is his own test tube, his own laboratory, working according to very rigorous rules, however unstated these may be, and cannot allow any consideration to supersede his responsibility to reveal all that he can possibly discover concerning the mystery of the human being. Society must accept some things as real; but he must always know that visible reality hides a deeper one, and that all our action and achievement rest on things unseen. A society must assume that it is stable, but the artist must know, and he must let us know, that there is nothing stable under heaven. One cannot possibly build a school, teach a child, or drive a car without taking some things for granted. The artist cannot and must not take anything for granted, but must drive to the heart of every answer and expose the question the answer hides.

I seem to be making extremely grandiloquent claims for a breed of men and women historically despised while living and acclaimed when safely dead. But, in a way, the belated honor that all societies tender their artists proven the reality of the point I am trying to make. I am really trying to make clear the nature of the artist’s responsibility to his society. The peculiar nature of this responsibility is that he must never cease warring with it, for its sake and for his own. For the truth, in spite of appearances and all our hopes, is that everything is always changing and the measure of our maturity as nations and as men is how well prepared we are to meet these changes, and further, to use them for our health.

Now, anyone who has ever been compelled to think about it—anyone, for example, who has ever been in love—knows that the one face that one can never see is one’s own face. One’s lover—or one’s brother, or one’s enemy—sees the face you wear, and this face can elicit the most extraordinary reactions. We do the things we do and feel what we feel essentially because we must—we are responsible for our actions, but we rarely understand them. It goes without saying, I believe, that if we understood ourselves better, we would damage ourselves less. But the barrier between oneself and one’s knowledge of oneself is high indeed. There are so many things one would rather not know! We become social creatures because we cannot live any other way. But in order to become social, there are a great many other things that we must not become, and we are frightened, all of us, of these forces within us that perpetually menace our precarious security. Yet the forces are there: we cannot will them away. All we can do is learn to live with them. And we cannot learn this unless we are willing to tell the truth about ourselves, and the truth about us is always at variance with what we wish to be. The human effort is to bring these two realities into a relationship resembling reconciliation. The human beings whom we respect the most, after all—and sometimes fear the most—are those who are most deeply involved in this delicate and strenuous effort, for they have the unshakable authority that comes only from having looked on and endured and survived the worst. That nation is healthiest which has the least necessity to distrust or ostracize these people—whom, as I say, honor, once they are gone, because somewhere in our hearts we know that we cannot live without them.

The dangers of being an American artist are not greater than those of being an artist anywhere else in the world, but they are very particular. These dangers are produced by our history. They rest on the fact that in order to conquer this continent, the particular aloneness of which I speak—the aloneness in which one discovers that life is tragic, and therefore unutterably beautiful—could not be permitted. And that this prohibition is typical of all emergent nations will be proved, I have no doubt, in many ways during the next fifty years. This continent now is conquered, but our habits and our fears remain. And, in the same way that to become a social human being one modifies and suppresses and, ultimately, without great courage, lies to oneself about all one’s interior, uncharted chaos, so have we, as a nation, modified or suppressed and lied about all the darker forces in our history. We know, in the case of the person, that whoever cannot tell himself the truth about his past is trapped in it, is immobilized in the prison of his undiscovered self. This is also true of nations. We know how a person, in such a paralysis, is unable to assess either his weaknesses or his strengths, and how frequently indeed he mistakes the one for the other. And this, I think, we do. We are the strongest nation in the Western world, but this is not for the reasons that we think. It is because we have an opportunity that no other nation has in moving beyond the Old World concepts of race and class and caste, to create, finally, what we must have had in mind when we first began speaking of the New World. But the price of this is a long look backward when we came and an unflinching assessment of the record. For an artist, the record of that journey is most clearly revealed in the personalities of the people the journey produced. Societies never know it, but the war of an artist with his society is a lover’s war, and he does, at his best, what lovers do, which is to reveal the beloved to himself and, with that revelation, to make freedom real."
jamesbaldwin  creativity  loneliness  aloneness  death  birth  society  art  artists  consciousness  philosophy  imagination  reality  stability  change  changemaking  freedom 
april 2018 by robertogreco
marwahelal on Twitter: "𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎
"𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎𝚝 𝚘𝚏 𝚐𝚛𝚊𝚖𝚖𝚊𝚝𝚒𝚌𝚊𝚕 𝚛𝚞𝚕𝚎𝚜. 𝙸𝚝 𝚒𝚜 𝚊 𝚏𝚕𝚊𝚜𝚑 𝚘𝚏 𝚝𝚑𝚎 𝚑𝚞𝚖𝚊𝚗 𝚜𝚙𝚒𝚛𝚒𝚝, 𝚝𝚑𝚎 𝚖𝚎𝚊𝚗𝚜 𝚋𝚢 𝚠𝚑𝚒𝚌𝚑 𝚝𝚑𝚎 𝚜𝚘𝚞𝚕

𝚘𝚏 𝚎𝚊𝚌𝚑 𝚙𝚊𝚛𝚝𝚒𝚌𝚞𝚕𝚊𝚛 𝚌𝚞𝚕𝚝𝚞𝚛𝚎 𝚛𝚎𝚊𝚌𝚑𝚎𝚜 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕 𝚠𝚘𝚛𝚕𝚍. 𝙴𝚟𝚎𝚛𝚢 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚊𝚗 𝚘𝚕𝚍 𝚐𝚛𝚘𝚠𝚝𝚑 𝚏𝚘𝚛𝚎𝚜𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚖𝚒𝚗𝚍, 𝚊 𝚠𝚊𝚝𝚎𝚛𝚜𝚑𝚎𝚍 𝚘𝚏 𝚝𝚑𝚘𝚞𝚐𝚑𝚝, 𝚊𝚗 𝚎𝚗𝚝𝚒𝚛𝚎

𝚎𝚌𝚘𝚜𝚢𝚜𝚝𝚎𝚖 𝚘𝚏 𝚜𝚙𝚒𝚛𝚒𝚝𝚞𝚊𝚕 𝚙𝚘𝚜𝚜𝚒𝚋𝚒𝚕𝚒𝚝𝚒𝚎𝚜." - 𝚆𝚊𝚍𝚎 𝙳𝚊𝚟𝚒𝚜

Welcome to the VERNACULAR HOME, a @nomadreadings #crafttalk. Before we begin, I ask that if you are following along, that you engage these ideas by sharing them, faving, RTing, and chiming in with your own comments.

This talk is dedicated to all displaced peoples and all people who engage in creating a home of language on the page.

1. We’ve witnessed in recent years how advertisers have co-opted vernacular made popular by Black communities on this very platform and profited from it.

2. What these advertisers know is what any good poet knows: vernacular is the pathway to transformation. It is your first language — that language before you were aware of language. It is “like a howl, or a shout or a machine-gun or the wind or a wave,” K. Braithwaite writes.

3. Sidenote: Transformation has a cost but cannot be bought.

4. And as this scene from Spike Lee’s Malcolm X reminds https://www.youtube.com/watch?v=cfRDUsvu5fE , English is an inherently oppressive and racist language. As Malcolm X feels through this new insight into our language — a “con” as we’re told — he transforms and viewers are transformed with him.

5. Perfect segue to the next point…

6. If the poem does not transform (itself or the reader) it is not a poem. I repeat: If the work does not transform, what you have are words on a page — not a poem.

7. Let's now establish what vernacular [poetry] is.

8. Vernacular is a term used to express the idea that all languages are equal. It eliminates hierarchies of dialects vs. language.

As Baldwin writes in an essay I will share more of later, “...language functions as ‘a political instrument, means, and proof of power,’ and only politics separates a language from dialect.” (from the introduction by ed. Dohra Ahmed, Rotten English) https://bit.ly/2pXfk3h

9. Now that we’ve established what vernacular is, please don’t tell me you speak only one language...

10. Your dreams are a vernacular. Nature is a vernacular. Your sneaker collection is a vernacular! Signage: a vernacular. Your unique way of looking at the world: a vernacular. Your heartbeat: a vernacular. Breath: same, a vernacular.

Whenever I teach this material, I end up yelling “EVERYTHING IS VERNACULAR” by the end of every class. So get ready.

11. Building on that (pun intended), vernacular is also the synthesis between the language (words and symbols in any language) we choose, and how we construct it with grammar, punctuation, syntax and form.

12. It is inaccurate to say we are "decolonizing" a language. What we are doing is reclaiming it by colonizing it with our own vernaculars and inventing what it has failed to imagine. It is a language that has failed to imagine 𝘜𝘚. And so this craft talk is also a call

A call to pay attention to where this language has become dull, stale, and boring. A call to pay attention to intentional and unintentional connotations. And to undo those connotations. In undoing them, I ask that we create radical solutions for this language that troubles us.

13. “It was during the anti colonial struggles of the twentieth century that the latent political potential of vernacular literature fully emerged.

14. Our resistance is in the refusal to assimilate, the preservation of our native vernaculars, the creativity in that preservation.

It is in understanding that there is a particular language [they] want [us] to know -- that particular language that is taught in schools, and the rules or codes implied in that agreed upon language and resisting those implications or overturning those agreements.

15. June Jordan said, “Good poetry & successful revolution change our lives, & you cannot compose a good poem or wage a revolution without changing consciousness—unless you attack the language that you share with your enemies & invent a language that you share with your allies.”

Now, with these ideas in mind, let’s go into the texts…

Harryette Mullen, "We Are Not Responsible," "Elliptical" and "Denigration" from Sleeping with the Dictionary [3 images of text]

Note the attention to language, the transformation or awareness brought to the everyday humdrum of signage and those aforementioned 𝓬𝓸𝓷𝓷𝓸𝓽𝓪𝓽𝓲𝓸𝓷𝓼.

Note the attention to punctuation. Each poem uses exactly one form of punctuation in a very distinct way.

I will leave the joy of those discoveries to you! We have more to read...

Here, this breathtaking excerpt by @yosuheirhammad from “break (clear)”, breaking poems [image of text]

The Arabic words "ana" and "khalas" are doing overtime.

"ana" = I am and becomes "I am my" in the last two instances. "Khalas" stands on its own line in the first instance -- open to many translations: "enough," "stop," or "no more" and establishes its commitment to finality in that last line, "khalas all this breaking."

MORE! Solmaz Sharif’s “Persian Letters” https://www.poetryfoundation.org/poetrymagazine/poems/57580/persian-letters

Here the vernacular “bar bar bar” not only shows us the creation of a word: “barbarians” -- it holds a mirror up to the ones who made it.

“We make them reveal
the brutes they are, Aleph, by the things
we make them name.” - @nsabugsme

NOW Baldwin: “People evolve a language in order to describe and thus control their circumstances, or in order not to be submerged by a reality that they cannot articulate. (And, if they cannot articulate it, they are submerged.)”

"Black English is the creation of the black diaspora. Blacks came to the United States chained to each other, but from different tribes: Neither could speak the other's language. If two black people, at that bitter hour of the world's history, had been able to speak to each...

other, the institution of chattel slavery could never have lasted as long as it did. Subsequently, the slave was given, under the eye, and the gun, of his master, Congo Square, and the Bible--or in other words, and under these conditions, the slave began the formation of the

black church, and it is within this unprecedented tabernacle that black English began to be formed. This was not, merely, as in the European example, the adoption of a foreign tongue, but an alchemy that transformed ancient elements into a new language:

A language comes into existence by means of brutal necessity, and the rules of the language are dictated by what the language must convey.

Link to the full essay: “If Black English Isn’t a Language, Then Tell Me, What Is?” James Baldwin https://archive.nytimes.com/www.nytimes.com/books/98/03/29/specials/baldwin-english.html

Further reading: “Mother Tongue” by Amy Tan
Link: http://theessayexperiencefall2013.qwriting.qc.cuny.edu/files/2013/09/Mother-Tongue-by-Amy-Tan.pdf

I leave you with this poem by @kyle_decoy “American Vernacular” via @LambdaLiterary
https://www.lambdaliterary.org/features/poetry-spotlight/09/19/a-poem-by-kyle-dacuyan/ ]
marwahelal  language  poetry  writing  words  vernacular  culture  resistance  2018  jamesbaldwin  displacement  transformation  appropriation  malcolmx  english  poems  dohraahmed  grammar  punctuation  syntax  decolonization  colonization  assimilation  creativity  preservation  junejordan  harryettemullen  connotation  suheirhammad  solmazsharif  arabic  amytan  kyledacuyan 
april 2018 by robertogreco
Mrs. Piggle-Wiggle's Magical Cures Hide a Cold Truth - The Atlantic
"As a child I found these books fascinating, suggesting as they did a conspiracy of adults manipulating children’s every move. Now, as a mother of four, I find them even more fascinating, because it turns out that the conspiracy is real. Parents do constantly conspire with a bevy of licensed and unlicensed advisors—relatives, friends, doctors, teachers, social-media strangers, even representatives of the state. What all these people promise is what Mrs. Piggle-Wiggle provides: conformity. It’s something so unnatural that it can only happen through magic, and yet it’s what’s expected of children, then and now.

Much of this conformity is just common courtesy; no one wants to live in a world in which people don’t pick up their toys. But the conformity parents sometimes crave goes deeper than that, and the desperation of these books’ 1950s parents hasn’t gone away. My 21st-century children laugh at Mrs. Piggle-Wiggle’s picket-fenced planet, where Mrs. Brown does the mending while Mr. Brown smokes his pipe, and little Christopher Brown putting his elbows on the table incurs an intervention involving a trained pig (don’t ask). But the reality is that today, amid a middle-class panic about their families’ and their country’s future, there is intense demand for children’s conformity. It can be hard to see just how much conformity is required until you have a child—or two, or four—who simply won’t comply.

For large numbers of children, for instance, sitting in a cinderblock box for six hours a day is an awful way to learn. But it’s hard to appreciate just how awful it is until your child gets expelled from preschool for being unable to remain in the room. You don’t think about how many questions your children ask when you read together until they get kicked out of the library story hour; you don’t realize how eagerly they explore nature until the arboretum ejects them for failing to stay in line on the trail. When your children achieve good grades, you are delighted, until you sit through the presentations where every child recites an identical list of facts about the country they “researched” on Wikipedia, and you realize what success is. You wonder why their assignments are so uninspired, until your answer arrives in the form of paperwork about multiday standardized tests. You wonder why your child who reads five novels weekly has been flagged for poor reading skills, until you discover that said child spends all assessment time reading under the desk.

You appreciate the need for children to develop patience, mastery, tolerance for boredom. But demand piles upon demand until it becomes a kind of daily war, as if this structure were specifically designed to destroy the very things that it purports to nourish. Your children soon meet other repeat offenders who frequent the principals’ and psychologists’ offices, children who sit on exercise balls and wear weighted vests in class to better constrain them, like characters from Kurt Vonnegut’s “Harrison Bergeron” dystopia. You observe as your children uncover, like video-game Easter eggs, your state’s various statutes that trigger ejection from class; soon even your kindergartner discovers that all he needs to do to leave the room is announce an urge to kill himself, a fact he then exploits at will. You don’t blame the schools for these essential interventions, but you can hardly blame your child either for wanting out, because clearly something is wrong. Your children love learning, reading, exploring, creating; at home they write books, invent board games, make up languages, build gadgets out of old coffee makers. They appear to have the makings of successful adults—they’re resourceful, independent, and interested in contributing something to the world. But the markers of success in children are in many ways the opposite of these markers of success in adulthood, and in the meantime—a long, decade-plus meantime—children are trapped in a kind of juvenile detention where success is defined by how well adults can manage them, the chief adult being you, the parent.

Through all this, the Mrs. Piggle-Wiggles proliferate. Some are relatives or trusted friends; others are professionals, teachers, therapists, doctors, all offering their chests of cures. Some of these cures actually work. But even when they work, you begin to wonder what it means for them to work, to wonder what you are not seeing when all the Mrs. Piggle-Wiggles see is a tattletale or a truant or a child covered in dirt, an aberration to be evened out, fixed, cured. This harrowing question brings you to the farthest edge of your own limitations as a parent, which is also the nearest edge of your child’s freedom. And then you understand that control is a delusion—that all you can do is what Mrs. Piggle-Wiggle never does, which is to love the people your children actually are, instead of the people you want them to be."
conformity  children  parenting  books  culture  society  manners  2018  darahorn  unschooling  deschooling  difference  compliance  fear  punishment  discipline  openstudioproject  lcproject  tcsnnmy  sfsh  success  standardization  standardizedtesting  standards  assessment  creativity  acceptance  cures  curing  freedom 
march 2018 by robertogreco
Sean Michael Morris on Twitter: "It’s not pragmatic now to think that on-campus and online college experiences can remain separate, in terms of quality but especially in terms of ideology. #digped"
"It’s not pragmatic now to think that on-campus and online college experiences can remain separate, in terms of quality but especially in terms of ideology. #digped

We have long framed online learning as inclined toward rudiments, toward direct instruction, toward autonomy, whereas campus learning is framed as intimate, nuanced, communal.

But if online learning is more rudimentary, less nuanced, personal, complex than campus learning, it betrays an implicit assumption that so are online students less.

In program after program, online classes are restricted to courses that rely more entirely on content than on invention and inquiry. The most interesting classes are kept on campus.

When we omit seminar classes or dialectical teaching and learning from online course offerings, we create an inequity. When we think of online learning as instrumental and not intrinsically valuable, we create an inequity.

Online students are students like on-campus students. Just as curious, just as hopeful, just as genius, just as troubled, just as excited and unsure. Do our online courses actually accommodate them?

Do online courses accommodate students at all? Or do they cater primarily to an ideology of efficiency, retention, “student success”, and numbers which institutions can report?

Increasingly, the importance of _who students are_ is coming into greater relief. Identity is at the center of education. It is the student’s mind, not the institution’s competitive aspirations, that needs attention.

Likewise, teaching must remain a work of self-actualization (a la @bellhooks). When we take our teaching online, do we feel as interested, as invested, as challenged, as engaged, as when we teach on campus?

Have we created an online learning which has self-actualization at its core? What is the goal of online learning? Inclusion? Access? Efficiency? Increased enrollment?

We must look straight at the online learning we’ve created and that we sustain and ask: is it education we are providing? Education with all its texture and nuance and abruptness and creativity.

If the current form of online learning, once we inspect it, doesn’t measure up as parallel in value to on-campus learning, we just take it upon ourselves to revise it, to refuse what is inequitable and imagine something different.

This, and more, is the work I hope to do at @umwdtlt with @Jessifer, that @amcollier and I were after at @Middlebury. It’s what @DigPedLab is for. But this work needs all the voices and collaborators possible. Are you in?"
seanmichaelmorris  digitalpedagogy  criticalpedagogy  education  highered  highereducation  online  college  universities  howweteach  bellhooks  accessibility  inclusion  inclusivity  efficiency  creativity  equity 
march 2018 by robertogreco
OCCULTURE: 52. John Michael Greer in “The Polymath” // Druidry, Storytelling & the History of the Occult
"The best beard in occultism, John Michael Greer, is in the house. We’re talking “The Occult Book”, a collection of 100 of the most important stories and anecdotes from the history of the occult in western society. We also touch on the subject of storytelling as well as some other recent material from John, including his book “The Coelbren Alphabet: The Forgotten Oracle of the Welsh Bards” and his translation of a neat little number called “Academy of the Sword”."



"What you contemplate [too much] you imitate." [Uses the example of atheists contemplating religious fundamentalists and how the atheists begin acting like them.] "People always become what they hate. That’s why it's not good idea to wallow in hate."
2017  johnmichaelgreer  druidry  craft  druids  polymaths  autodidacts  learning  occulture  occult  ryanpeverly  celts  druidrevival  history  spirituality  thedivine  nature  belief  dogma  animism  practice  life  living  myths  mythology  stories  storytelling  wisdom  writing  howwewrite  editing  writersblock  criticism  writer'sblock  self-criticism  creativity  schools  schooling  television  tv  coelbrenalphabet  1980s  ronaldreagan  sustainability  environment  us  politics  lies  margaretthatcher  oraltradition  books  reading  howweread  howwelearn  unschooling  deschooling  facetime  social  socializing  cardgames  humans  human  humanism  work  labor  boredom  economics  society  suffering  misery  trapped  progress  socialmedia  computing  smarthphones  bullshitjobs  shinto  talismans  amulets  sex  christianity  religion  atheism  scientism  mainstream  counterculture  magic  materialism  enlightenment  delusion  judgement  contemplation  imitation  fundamentalism  hate  knowledge 
february 2018 by robertogreco
OCCULTURE: 66. Gordon White in “Breaking Kayfabe” // Ursula Le Guin, Dragons & the Story Shape of the 21st Century
"If ya hit the ol’ play button on this one, it’s probably because of the name in the title. Gordon White is in the house. Mr. White as he’s known in the metafiction that is our current cultural narrative. But Mr. White is no reservoir dog in this story. He’s the Humphrey Bogart of High Magic, the main mage behind the oh-so-popular Rune Soup blog and podcast. You’ve read it, you’ve heard it. And if ya haven’t, well, you’re in for quite the trip on this here starship.

Gordon’s mind is a cabinet of curiosities and we pull out quite a bit of them here, including how we can rearrange our reality, the magic of fiction, artistic impulses, Game of Thrones, a game of tomes, and if ya ever wanted to hear Gordon White speak in pro wrestling terminology, well, there’s a bit of that too.

So let’s do this damn thing already and cast this pod off deep into the primordial chaos, where the protocols of the elder scrolls read more like a legend on a map of Middle Earth than they do a plan of global domination."
gordonwhite  fiction  fantasy  novels  art  makingart  magic  myth  mythology  belief  creativity  ryanpeverly  nonfiction  stories  storytelling  change  homer  bible  truth  ursulaleguin  2018  occulture  westernthought  carljung  josephcampbell  starwars  culture  biology  nature  reality  heroesjourney  potency  archetypes  dragons  odyssey  anthropology  ernestodimartino  religion  christianity  flow  taoism  artmagic  artasmagic  magicofart  permaculture  plants  housemagic  love  death 
february 2018 by robertogreco
How to Teach Art to Kids, According to Mark Rothko
"If you’ve ever seen Mark Rothko’s paintings—large canvases filled with fields of atmospheric color—and thought, “a child could do this,” you’ve paid the Abstract Expressionist a compliment.

Rothko greatly admired children’s art, praising the freshness, authenticity, and emotional intensity of their creations. And he knew children’s art well, working as an art teacher for over 20 years at the Brooklyn Jewish Center. To his students—kindergarteners through 8th graders—Rothko wasn’t an avant-garde visionary or burgeoning art star, he was “Rothkie.” “A big bear of a man, the friendliest, nicest, warmest member of the entire school,” his former student Martin Lukashok once recalled.

Rothko was a thought leader in the field of children’s art education. He published an essay on the topic (“New Training for Future Artists and Art Lovers”) in 1934, which he hoped to follow up with a book. Though he never completed the project, he left behind 49 sheets of notes, known as “The Scribble Book,” which detailed his progressive pedagogy—and from which we’ve taken five lessons that Rothko wanted all art teachers to know.

Lesson #1: Show your students that art is a universal form of expression, as elemental as speaking or singing

Rothko taught that everyone can make art—even those without innate talent or professional training. According to the painter, art is an essential part of the human experience. And just as kids can quickly pick up stories or songs, they can easily turn their observations and imaginings into art. (Similarly, he believed, taking away a child’s access to artmaking could be as harmful as stunting their ability to learn language.)

For Rothko, art was all about expression—transforming one’s emotions into visual experiences that everyone can understand. And kids do this naturally. “These children have ideas, often fine ones, and they express them vividly and beautifully, so that they make us feel what they feel,” he writes. “Hence their efforts are intrinsically works of art.”

Lesson #2: Beware of suppressing a child’s creativity with academic training

As Rothko saw it, a child’s expressiveness is fragile. When art teachers assign projects with strict parameters or emphasize technical perfection, this natural creativity can quickly turn to conformity. “The fact that one usually begins with drawing is already academic,” Rothko explains. “We start with color.”

To protect his students’ creative freedom, Rothko followed a simple teaching method. When children entered his art room, all of their working materials—from brushes to clay—were already set up, ready for them to select and employ in free-form creations. No assignments needed.

“Unconscious of any difficulties, they chop their way and surmount obstacles that might turn an adult grey, and presto!” Rothko describes. “Soon their ideas become visible in a clearly intelligent form.” With this flexibility, his students developed their own unique artistic styles, from the detail-oriented to the wildly expressive. And for Rothko, the ability to channel one’s interior world into art was much more valuable than the mastery of academic techniques. “There is no such thing as good painting about nothing,” he once wrote.

Lesson #3: Stage exhibitions of your students’ works to encourage their self-confidence

“I was never good at art,” recalled Rothko’s former student Gerald Phillips. “But he…made you feel that you were really producing something important, something good.”

For Rothko, an art teacher’s premier responsibility was to inspire children’s self-confidence. To do this, he organized public exhibitions of his students’ works across New York City, including a show of 150 pieces at the Brooklyn Museum in 1934. And when Rothko had his first solo exhibition at the Portland Art Museum a year earlier, he brought his students’ works along with him and exhibited them next to his own.

These exhibitions gave Rothko’s students a newfound excitement about their work, while educating the public about the potential of children’s art. “It is significant,” Rothko writes, “that dozens of artists viewed this exhibition [of student works at the Brooklyn Museum] and were amazed and stirred by it.” Rothko wanted critics to see that fine art only requires emotional intensity to be successful.

Lesson #4: Introduce art history with modern art (not the Old Masters)

When teaching young students about art history, where do you start? For Rothko, the answer was clear: Modernism.

With 20th-century art, children can learn from works that are similar to their own, whether through the paintings of Henri Matisse, Milton Avery, or Pablo Picasso. These iconic artists sought pure, personal forms of visual expression, free from the technical standards of the past. “[Modern art] has not been obscured by style and tradition as that of the old masters,” Rothko explains. “It is therefore particularly useful to us…to serve as an interpreter to establish the relationship between the child and the stream of art.”

But while exposure to modern art can help boost children’s confidence and creativity, it shouldn’t interfere with the development of a unique style. Rothko discouraged his students from mimicking museum works as well as his own painting practice. “Very often the work of the children is simply a primitive rendition of the creative ends of the artist teacher,” he warns. “Therefore it has the appearance of child art, but loses the basic creative outlet for the child himself.”

Lesson #5: Work to cultivate creative thinkers, not professional artists

In addition to fanning students’ creative instincts, great art teachers can help students become more self-aware, empathetic, and collaborative—and this generates better citizens in the long run, Rothko believed. At the Brooklyn Jewish Center, he hardly cared whether his students would go on to pursue careers in the arts. Instead, Rothko focused on cultivating in his students a deep appreciation for artistic expression.

“Most of these children will probably lose their imaginativeness and vivacity as they mature,” he wrote. “But a few will not. And it is hoped that in their cases, the experience of eight years [in my classroom] will not be forgotten and they will continue to find the same beauty about them. As to the others, it is hoped, that their experience will help them to revive their own early artistic pleasures in the work of others.”

And, in turn, Rothko’s own creativity was revived by his students’ unabashed expressiveness. When the artist began teaching, his works were still somewhat figurative, depicting street scenes, landscapes, portraits, and interiors with loose brushwork. Upon retirement, his style had transformed to complete abstraction, taking the form of vivid, color-filled canvases that he hoped would intuitively resonate with adults and children alike.
markrothko  education  teaching  arteducation  art  howwetech  children  lcproject  openstudioproject  creativity  learning  unschooling  deschooling  modernart  modernism  academics  pedagogy  2018  expression  human  humans  conformity 
february 2018 by robertogreco
Deleting the Human Clause, Damien Williams « Social Epistemology Review and Reply Collective
"Animal Constructions and Technological Knowledge is Ashley Shew’s debut monograph and in it she argues that we need to reassess and possibly even drastically change the way in which we think about and classify the categories of technology, tool use, and construction behavior. Drawing from the fields of anthropology, animal studies, and philosophy of technology and engineering, Shew demonstrates that there are several assumptions made by researchers in all of these fields—assumptions about intelligence, intentionality, creativity and the capacity for novel behavior.

Many of these assumptions, Shew says, were developed to guard against the hazard of anthropomorphizing the animals under investigation, and to prevent those researchers ascribing human-like qualities to animals that don’t have them. However, this has led to us swinging the pendulum too far in the other direction, engaging in “a kind of speciesist arrogance” which results in our not ascribing otherwise laudable characteristics to animals for the mere fact that they aren’t human.[1]

Shew says that we consciously and unconsciously appended a “human clause” to all of our definitions of technology, tool use, and intelligence, and this clause’s presumption—that it doesn’t really “count” if humans aren’t the ones doing it—is precisely what has to change."

[via: http://orbitaloperations.cmail20.com/t/ViewEmail/d/5234D06A0B7819B52540EF23F30FEDED/C672A3FAD68B88BDC68C6A341B5D209E ]
ashleyshew  2018  books  animals  multispecies  morethanhuman  tools  technology  intelligence  humanclause  speciesism  intentionality  creativity  behavior  anthropomorphism 
february 2018 by robertogreco
John Perry Barlow gave internet activists only half the mission they need.
"It was at the World Economic Forum in Davos, Switzerland, of all places, where John Perry Barlow wrote “A Declaration of the Independence of Cyberspace” in 1996. That might have been an odd place for a poet and former Grateful Dead lyricist to pen a foundational document of internet activism, but it was also an apt one: Barlow’s manifesto, and the movement it undergirds, helped give us the dynamic—but also often deleteriously corporatized—internet we have today.

Barlow died on Wednesday at the age of 71. The Electronic Frontier Foundation, the cyber civil liberties organization that he co-founded in 1990—where I used to work—shared in a blog post that he passed quietly in his sleep. He leaves us a legacy that has shaped the mission of the people fighting for the open internet. That mission is an incomplete one."



"I can’t help but ask what might have happened had the pioneers of the open web given us a different vision—one that paired the insistence that we must defend cyberspace with a concern for justice, human rights, and open creativity, and not primarily personal liberty. What kind of internet would we have today?"

[via:https://tinyletter.com/audreywatters/letters/hewn-no-252 ]
johnperrybarlow  individualism  californianideology  libertarianism  internet  web  online  2018  open  openness  creativity  liberty  cyberspace  justice  socialjustice  humanrights  race  racism  inclusion  inclusivity  openweb  aprilglaser  government  governance  law  eff  policy  corporatism  surveillance  edwardsnowden  nsa  netneutrality  sopa  pipa  fcc  privilege  power  prejudice 
february 2018 by robertogreco
Michael Ian Black on Twitter: "Getting a lot of grief from teachers for my earlier take on k-12 education. I meant no offense to teachers, who I think, by and large, do their best. My criticisms have to do with the whole dang public education apparatus, w
"Getting a lot of grief from teachers for my earlier take on k-12 education. I meant no offense to teachers, who I think, by and large, do their best. My criticisms have to do with the whole dang public education apparatus, which feels hopelessly outmoded and moribund.

I advocate an new model of education which focuses on two things: creativity and critical thinking. That's it. All else would be in service of those two skills. Why? Because the history of public education has been about readying workers to work in predictable industries.

Those predictable industries no long exist or are undergoing radical transformation. What cuts across all industries in this new economy are creativity and critical thinking. If you have those two skills, you can do anything.

Those skills also happen to be the most fun things to work on. "Draw something." "What do you think about you drew?" We're not grading you, we're asking your opinion. What works about this? What doesn't work? Exactly how tasks are approached in the workplace.

Also, why are we gearing everything to the tests? The tests are snapshots, rarely illuminating, and often overweighted. As testing has increased, childhood depression and anxiety has risen with it. For what? An extra hundredth on your GPA?

To what end? Why are moving these kids through the production line? My kids are in high school and I promise they aren't excited about anything they're doing. They can tolerate it. They like lunch. But they're mostly just moving through the day.

Wouldn't it better if they were excited to attend school because school was where they did all the cool shit they want to do? Play video games and read cool books and study music and, yeah, maybe write a paper about that cool video game, and maybe learn a little coding.

You want to play guitar? Great. Here's a guitar. Here's how music relates to math. Here's how math relates to science. How's the song coming? Take an hour for lunch. You want to leave early today? Leave early. Treat kids the way you want to be treated, excite them...

Connect them with experts in the fields they're studying. Develop mentorships, make sure they take a hike every day. Make school the place you wish you could have hung out when you were their age. Teachers can be guides, a support system, one-on-one counselors. it can work."

[previous thread: https://twitter.com/michaelianblack/status/955470909669892098

"Been thinking a lot about k-12 education since last night. (I mean, before that too, but I hadn't written about it on Twitter.) My conclusion: it's total shit.

I'm going to make some points that are probably obvious to most people but they're worth saying. First, the average education destroys children's natural inquisitiveness. "This rock is cool!" "Great. Memorize everything about its composition. then I'm going to test you on it."

Second, the grading system is meaningless. A good grade denotes mastery of a subject about as much as having shiny teeth means you eat a healthy diet.

Third, kids are bored because school is boring because the way things are taught is boring. It's not the teacher's fault. It's a system that values compliance over creativity. It teaches kids how to regurgitate instead of how to think.

Why isn't school fun? Why doesn't it look more like kindergarten all the way through high school? Why isn't it student-driven instead of administration-driven? After they know how to read and perform basic math why can't they pursue subjects about which they show interest?

If a kid likes to read, why can't she spend her time with other kids who love literature? If she likes science, why not spent her time doing science? Why funnel everybody through the same stupid curriculum that has no real-world application?

The goal of k-12 education should to nurture kids towards an excitement of lifetime learning instead of towards getting into a college they can't afford. Anybody who wants to learn something can learn it. But they need to want to learn. School kills desire to learn.

Would any adult choose to go back to k-12 schooling? No fucking way. For most people, it's an endless drudge. Why not preserve childhood as a time of exploration and joy? Who is well-served by this system?

We know k-12 education doesn't work well. Kids hate it. Parents hate it. Teachers hate it. Employers hate it. Everybody hates it. So why do we keep it? Why are we inflicting so much misery on ourselves?"]

[And a thread prior to that: https://twitter.com/michaelianblack/status/955263135254016006

"One of my life's great stress-reducing realizations is that I don't care about my kids' grades.

Not only do I not care about their grades, I honestly think I'd be fine with it if they decide to drop out before graduating. The way we educate kids is 100% garbage. (Maybe 75% garbage.)

Here's the only thing school needs to teach kids: reading, how to construct a coherent thought, and basic math. After that, kids should be free to pursue whatever interests them, supplemented with broad exposure to the humanities.

There should be more: art, music, game playing, movie watching, physical activity. Schooling through high school should bear more than a passing resemblance to kindergarten. The way we do things is stultifying and soul-crushing.

Everything I value as an adult was treated as extracurricular and slightly distasteful by the school administration. The arts had no "practical value," but somehow trigonometry did. It made no sense.

When I decided to become an actor, I was told (and believed) I would never make a dime. I took that trade-off to do what I wanted in exchange for little to no pay. But a funny thing happened. The gig economy of the actor became the gig economy of the entire country.

So I found myself much more comfortable in uncertainty as traditional occupational structures began falling by the wayside. I felt like I had the flexibility and creativity to tackle unfamiliar jobs with minimal training because I believed in my own adaptability.

The kids I see these days can do anything on a computer. They are good collaborators and their egos seem more in check than mine. They'll do fine in the coming years, but I'd like to see their kids the beneficiaries of this new kind of schooling, a student-directed schooling.

That draws from the expertise of the faculty to augment studies, but also to be able to access the world's great minds on your narrow question. Slow, non-grade work that moves towards a defining and meaningful goal/solution. Applied education. Seems like a better way to handled"]
michaelianblack  schools  education  grades  grading  homework  schooling  learning  children  parenting  teaching  unschooling  deschooling  2018  self-directed  self-directedlearning  howwelearn  freedom  autonomy  creativity  misery  sfsh  criticalthinking  middleschool  highschool  teachers  howweteach  schooliness  oppression  publicschools  childhood 
january 2018 by robertogreco
Hapticality in the Undercommons, or From Operations Management to Black Ops | Stefano Harney - Academia.edu
"Fanon begins his conclusion by calling for the rejection of what he calls the ‘European model’ in the coming post-colonial world:

When I search for Man in the technique and the style of Europe, I see only a succession of negations of man, and an avalanche of murders.

But what is this European model, what is at the heart of this model, why the negations, the unending blood-soaked dawns? Here is Fanon’s answer:
But let us be clear: what matters is to stop talking about output, and intensification, and the rhythm of work.

The coming post-colonial nations must break not only with the negations of history, culture, and personality wrought by colonialism but with the ‘rhythm of work’ imposed by the European model. And he clarifies:
No, there is no question of a return to Nature. It is simply a very concrete question of not dragging men towards mutilation, of not imposing upon the brain rhythms that very quickly obliterate it and wreck it. The pretext of catching up must not be used to push man around, to tear him away from himself or from his privacy, to break and kill him.

Here is that word ‘rhythm’ again. ‘Rhythms imposed on the brain’ this time, imposed by a drive to ‘catch up.’ Catching up was a phrase much circulated in the takeoff theories of capitalist development pushed by the United States in the Cold War. But, Fanon points out, this catching up institutes a rhythm that ‘breaks’ and ‘kills’ man. This is a rhythm that ‘tears man away from himself’, that ‘obliterates’ and ‘wrecks’ his brain. Fanon uses the metaphor of the ‘caravan’ for a system that tears man away from himself."



"Fanon feared post-colonial nations would keep the regime and merely erect the outside, with flags, anthems, and new ruling classes. Who can say he was wrong? But Fanon’s warning was more than a post-colonial critique of the idea of the outside. It was an analysis of the European model and its tendency towards producing this rhythm without an outside. Indeed Fanon saw the colony as the first social factory, where worker replaces subject in society as a whole. In the colony, in the first social factory any move to other social being was, as it is today, criminal, conspiratorial. The only sound in the social factory is the rhythm of work because that is what takes place in a factory."



"This is our work today. We take inventories of ourselves for components not the whole. We produce lean efforts to transconduct. We look to overcome constraints. We define values through metrics. These are all terms from operations management but they describe work far better than recourse to the discourse of subject formation. Creativity itself, supposedly at the heart of the battle for the subject today, is nothing but what operations management calls variance in the line, a variance that may lead to what is in turn called a kaizen event, an improvement, and is then assimilated back into an even more sophisticated line. Today ours is primarily the labour of adapting and translating, being commensurate and flexible, being a conduit and receptacle, a port for information but also a conductor of information, a wire, a travel plug. We channel affect toward new connections. We do not just keep the flow of meaning, information, attention, taste, desire, and fear moving, we improve this flow continuously. We must remain open and attuned to the rhythm of the line, to its merciless variances in rhythm. This is primarily a neurological labour, a synaptic labour of making contact to keep the line flowing, and creating innovations that help it flow in new directions and at new speeds. The worker operates like a synapse, sparking new lines of assembly in life. And she does so anywhere and everywhere because the rhythm of the line is anywhere and everywhere. The worker extends synaptic rhythms in every direction, every circumstance. With synaptic work, it is access not subjects that the line wants, an access, as Denise Ferreira da Silva reminds us, that was long at the heart of the abuse of the affected ones, the ones who granted access out of love, out of necessity, out of the consent not to be one, even before that granting was abused."
stefanoharney  frantzfanon  labor  work  leisure  blackops  fredmoten  rhythm  deniseferreiradasilva  information  haptics  hapticality  art  academia  flow  athi-patraruga  zarinabhimji  creativity  flexibility  latecapitalism  capitalism  neoliberalism  society  colonialism  colonization  decolonization  nature  undercommons 
december 2017 by robertogreco
Harvard EdCast: Lifelong Kindergarten | Harvard Graduate School of Education
"The concept of kindergarten — as a place for young children to learn by interacting with materials and people around them — has existed for over 200 years, but never has the approach been so suited to the way the world works as it is today, says Mitchel Resnick, the LEGO Papert Professor of Learning Research at the MIT Media Lab.

“That approach to kindergarten is really aligned with the needs of today’s society," says Resnick, citing the need to adapt to the speed at which things change in the world. "As kids in the traditional kindergarten were playfully designing and creating things, they were developing as creative thinkers…. That’s exactly what we need.”

Being given the room to explore, experiment, and express oneself is vital to becoming a creative thinker — and to the learning process as a whole — says Resnick, author of Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play. If people aren't encouraged in their creativity at an early age, and if this isn't nutured throughout their schooling, then they aren't as prepared to deal with the unexpected when it arises.

“We’re trying to spread that approach to learners of all ages," says Resnick, who also leads the Lifelong Kindergarten research group at MIT. "We want to take what’s worked best in kindergarten and here at the Media Lab and provide opportunities for all kids of all ages to be able to explore and experiment and express themselves in that same spirit.”

In this edition of the Harvard EdCast, Resnick talks about the importance of nurturing creativity in learning and explains why kindergarten is the greatest invention of the last millennium."

[See also:
"Mitchel Resnick - MIT Media Lab: Lifelong Kindergarten" (2014)
https://www.youtube.com/watch?v=uRxD-pe3PN0

"Helping Kids Develop as Creative Thinkers" (2017)
https://vimeo.com/244986026 ]
mitchresnick  lifelongkindergarten  mitmedialab  2017  interviews  kindergarten  play  projects  projectbasedlearning  passion  collaboration  experimentation  creativity  medialab  scratch  making  pbl  teaching  sfsh  learning  howweteach  howwelearn  risks  risktaking  education  schools  lcproject  openstudioproject  curiosity  schooling  unschooling  deschooling  mindstorms  writing  coding  programming  leaning  creating  lego  reasoning 
december 2017 by robertogreco
Mathematics must be creative, else it ain’t mathematics
"Students recoil from algebra as if it descended from Mars; who could blame them? Studied in isolation, algebra is ugly and utterly confusing. But when we lift its veil of abstraction and link algebra to its close relative, co-ordinate geometry, we arrive at a whole new plane of understanding. The idea of representing every point in a plane using just two numbers — what we now know as the x and y co-ordinates — was Descartes’ own nod to creativity."



"If only students were encouraged to transcend their study of individual topics. When a GCSE exam question dared to combine a quadratic equation with basic probability, the students roared with disapproval. Among them was my niece, who defiantly proclaimed that this isn’t how she were taught. Quadratics, fine. Probability, no problem. But a question that requires both? Call the press; it’s time to create another headline about a fiendish maths problem.

The tyranny of school maths lies in the false promise that stuffing oneself with facts and procedures prepares you for creativity. The act of creativity is deferred to an unspecified time — presumably it is for older, more knowledgeable people. It’s as if Tokio was instructed to learn his scales but never put hand to piano. No mathematician I have ever met learned their craft this way. They dived deep into topics for sure, but they habitually sought to join up concepts and apply their knowledge in novel ways to create entirely new understandings of mathematics. Young age is no barrier — my most impressive students are also the shortest; it only takes a well-crafted maths problem to unleash their innate creativity.

It helps to organise mathematical knowledge. There are obvious benefits to going deep in a particular area and I always offer a gracious nod to the fluency and fundamentals of mathematics. But mathematics at its most fundamental is an integrated body of ideas, replete in patterns. The patterns and connections are what makes it mathematics. Let that be your next headline."
math  mathematics  education  teaching  creativity  2017  interdisciplinary 
november 2017 by robertogreco
How Systemic Control Stunts Creative Growth – Rafranz Davis – Medium
"Last week our cohort of students began designing their making/coding engineering projects and as exciting as it was, we still had a moment of pause in which we thought that perhaps we needed to insert a little more control and guidance.
…for the sake of time and because it would’ve been much easier.
I’m glad that we didn’t.

In the aftermath of “plan day” and amidst the exhaustion of coaching and continuously trying to promote more “yes and” in lieu of “but”, I’ve thought about the diversity of ideas that kids had and the joy in their eyes as they were creating.

One of our groups is making a Scorpion-Dragon and another is making a combination of a Rube Goldberg machine with diet coke exploder. While I have no idea what the latter is, I am so excited to see it and am honestly still mortified at the thought that I even considered an outcome where kids would not have had such choices.

You see, I am one who is fortunate enough to have a front row seat to the power of creativity through my role as a nurturer for my nephew. I watch him experiment with a plethora of artistic choices and am constantly in awe of how much he learns just because he feels like it and most often because his project of choice demands it.

I’m also painfully aware how much a majority of his creative freedoms occur at home because school is most often not a place that is open to such thinking/doing…unless it is “holiday week”, early release day or the weeks after state testing is done.

This is the reality for so many but in all fairness, this is how we’ve been conditioned to “do” school in the face of accountability.

…and as much as teachers get a hard time for their lack of creative ventures, especially considering technology, it’s unfair to blame those who have no choice but to do as the system was created to do.

Too often, the de-creativeness of kids begins as soon as they enter the doors of early childhood. Creative play is replaced with scheduled assessments. Individuality is replaced with school uniforms of one color. Gender roles define everything from activities kids get to do, to who they sit with at lunch and who stands before or after them in line.

…the line where kids learn early to stand in silence with “bubbles in mouths” and hands behind backs

We still misinterpret quiet classrooms as the best classrooms.

If kids do get to create, they are all creating the same thing because the thought of “different” immediately triggers adult fears concerning time and we all know that in every classroom, time is a pretty hot commodity.

There just seems to be not enough of it.

I remember the first day in my high school algebra class when I decided to stop teaching according to the “lesson cycle” formula that our program seemed to have adopted. Kids lots their minds!

They wanted the template. They wanted the steps. They wanted me to do the thinking for them. They did not have the skills to creatively problem solve because in all the years that they had been in school, we did a great job of slowly but surely stripping this important ability away.

…an ability inherent in kids since birth as they utilize their senses to figure out the world around them.

…most often through curiosity driven play.

Right now, I’m sitting beside my nephew as he draws the header image for this piece. I spent yesterday watching him design and make an animatronic Christmas scene and over the last few weeks he’s been creating digital images and uploading his creations to redbubble so that for a small price, others could experience his vivid imagination.

This…in addition to his extensive work in puppetry, minecraft, oil painting, clay molding, music and just about anything that he feels like learning.

I’m not worried about my nephew though. He has us to support and guide him.

Not every kid has that and perhaps school should be the place that cultivates creativity in lieu of controlling it."
rafranzdavis  2017  creativity  math  mathematics  problemsolving  algebra  teaching  learning  howwelearn  control  freedom  children  unschooling  deschooling  sfsh  curiosity  schools  schooling  schooliness  making  art  education  howweteach  openstudioproject  lcproject 
november 2017 by robertogreco
003: Craig Mod - I Want My Attention Back! • Hurry Slowly
"Did you know that the mere presence of a smartphone near you is slowly draining away your cognitive energy and attention? (Even if it’s tucked away in a desk drawer or a bag.) Like it or not, the persistent use of technology is changing the quality of our attention. And not in a good way.

In this episode, I talk with writer, designer and technologist Craig Mod — who’s done numerous experiments in reclaiming his attention — about how we can break out of this toxic cycle of smartphone and social media addiction and regain control of our powers of concentration.

Key takeaways from the interview:

• How Facebook and other social media apps are lulling us into “attention slavery”

• Why interrupting your workflow to post on social media — and sharing pithy thoughts or ideas — shuts down your creative process

• How short digital detox retreats and/or meditation sessions can “defrag your mind” so that you can deploy your attention more consciously and more powerfully

• Why mapping your ideas in large offline spaces — e.g. on a whiteboard or blackboard — gives you “permission” to get messy and evolve your thinking in a way that’s impossible on a screen

• How changing the quality of your attention can change your relationship to everything — art, conversations, creativity, and business"



"Favorite Quotes

“If there was a meter of 1 to 10 of how present you are or how much you can manipulate your own attention — how confident you are that you could, say, read a book for three hours without an interruption, without feeling pulled to something else. I would say the baseline pre-smartphone was a 4 or 3. Now, it’s a 1.”

“I think that a life in which you are never present, in which you have no control over your attention, in which you’re constantly being pulled in different directions, is kind of sad — because there is this incredible gift of consciousness. And when that consciousness is deployed smartly, it’s amazing the things that can be built out of it.”

Resources

Here’s a shortlist of things Craig and I talked about in the course of the conversation, including where you can go on a meditation retreat. You should be aware that vipassana retreats are offered free of charge, and are open to anyone.

Craig’s piece on attention from Backchannel magazine
https://www.wired.com/2017/01/how-i-got-my-attention-back/

Vipassana meditation retreat locations
https://www.dhamma.org/en-US/index

Craig’s article on post-100 hours of meditation
https://craigmod.com/roden/013/

Film director Krzysztof Kieslowski
http://www.indiewire.com/2013/03/the-essentials-krzysztof-kieslowski-100770/

Writer and technologist Kevin Kelly
http://kk.org/thetechnium/

The Large Hadron Collider at Cern
http://www.wired.co.uk/article/large-hadron-collider-explained "
attention  craigmod  zoominginandout  ideas  thinking  focus  meditation  technology  blackboards  messiness  presence  writing  relationships  conversation  art  creativity  digitaldetox  maps  mapping  brainstorming  socialmedia  internet  web  online  retreats  jocelynglei  howwethink  howewrite  concentration  interruption  kevinkelly  vipassana  krzysztofkieslowski  largehadroncollider  cern 
november 2017 by robertogreco
Edwidge Danticat on Why 'All Immigrants Are Artists' - The Atlantic
"All your life is a work of art. A painting is not a painting but the way you live each day. A song is not a song but the words you share with the people you love. A book is not a book but the choices you make every day trying to be a decent person."
art  arts  edwidgedanticat  immigrants  immigration  making  being  living  life  everyday  leisureart  artleisure  creativity  invention  2013  leisurearts 
november 2017 by robertogreco
When the narrative breaks - Long View on Education
"So, here’s one way to look at the whole narrative about education systems failing to provide skills of the future for employers:

Maybe schools should cultivate creativity & critical thinking not because the ‘jobs of the future’ demand these skills that are necessary for an educated citizenry, but because most jobs restrict these human capacities?

Often, the more we work in jobs with machines the more machine-like we need to become.

Yet, maybe some of the least recognize and most important work – caring for others – is precisely where we find creativity, critical thinking, collaboration, and all the others skills that are apparently so desirable. That is, the ‘jobs of the future’ narrative has duped us on another level: because it never talks about care work, it seems as if that work is unimportant and low-skill. In a story on Vox, a support worker named Nathan Auldridge says that though “the pay is shit”, “You can’t make a robot do what I do.”"



"The ‘jobs of the future’ narrative is broken beyond repair: there’s no skills gap that education needs to fill, nor do the vast majority of the jobs that actually require many of the 21c skills pay very well. Why is that? The Vox article continues:
Caregiving — a low-paid, low-status job — is also most often done by disadvantaged workers. One in 10 working black women are employed in direct care; more than a quarter of direct care workers are black women. In contrast, while white women make up 35 percent of these jobs, only one in 37 working white women is employed in direct care. Latina women, as well as immigrant women, are also disproportionately represented.

Since women of color are disproportionately represented in these growing jobs of the future, why are they not represented in the forecasts about the future? In an article called Where are the Black Futurists?(2000), the author (listed as ‘Black Issues’) reflects on an all white male C-SPAN futurist panel:
“there are too many people talking about the future without considering the future of African Americans and other people of color.

By not considering us, is the majority implicitly suggesting that we don’t matter? Do they think that as America ages, we will continue to play the traditional service and support roles for their communities? When I hear estimates from the U.S. Department of Labor that we’ll need nearly a million home health aides in the next decade, and I know that most home health aides now are Black and Brown women, I conclude that unless the wage structure changes, the future implications for those women and their families are frightening.

But the futurists mainly seem to be predicting what an aging society will need without predicting who will provide it.”2
"
benjamindoxtdator  2017  care  caring  future  jobs  education  sfsh  collaboration  creativity  human  tcsnmy  cv  machines  technology  humanities  humanism  criticalthinking  civics  citizenry  democracy  work  labor  stem  steam  economics  caregiving  race  racism  futurism  sciences 
november 2017 by robertogreco
“Students as Creators” and the Theology of the Attention Economy | Hapgood
"I was so struck this week by Benjamin Doxtdator’s latest post on showing students how to engage with social media in a way that subverts its purposes. On listening as an act of resistance. Of getting past glorifying connection as an end to that important question of purpose. I wanted to jot down a few quick thoughts it brought to mind, all of them far less organized and insightful than Benjamin’s work. It also draws on work by Chris Gilliard and Amy Collier. I hope to offer it as just a piece of what I hope is an emerging critique of how connectivism and constructivism has been practiced and sold in past years, and how we might reorient and reposition it knowing what we know now.

The particular brick I want to hammer at today is our decade-long infatuation with “students as creators”.

I have become deeply skeptical over the past four or five years about the “students as creators” rhetoric. It’s not that I don’t believe that students shouldn’t create – my best and most rewarding projects have always been about students creating public work on the web that makes the lives of others better. I’ve also seen the immense joy and motivation that a maker lab can provide students. And my new push for info-environmentalism is centered in producing things that make the web a better place. I believe in making stuff, and still align myself with constructivism as a philosophy, most days of the week.

But the rhetoric around “students as creators” is unbelievably bad. It parrots all of capitalism’s worst theology: we want to make “makers, not takers”, we value “doers, not thinkers.” As I said a few years back, the idea that universities should value “producers” and push our students towards “production” is actually the least subversive idea you could possibly have at a university. The most subversive idea you could have at a university these days is that you might think a few connected thoughts without throwing them into either publication or the attention economy. That you might think about things for the purpose of being a better human, without an aim to produce anything at all.

Likewise, I sometimes think we’ve convinced ourselves that the attention economy, when implemented on top of open source, is liberating. And so we celebrate with the class when students get comments from outsiders, or have had their posts go viral. We talk about building identity, portfolios, public persona, getting noticed. We don’t realize that we begin to sound more and more like a LinkedIn marketing drone.

And I’ve come to think that, in today’s world, one of the most valuable lessons we can give to students is not “how to build their identity on the web,” but how to selectively obscure it. How to transcend it. How to personally track it. How to make a difference in the world while not being fully public. To teach students not just to avoid Google, but to use Google safely (or as safely as possible). To have them look at their information environments not as vehicles of just self-expression, but as ways to transcend their own prejudices. To read and listen much much more than we speak. And to see what is needed through the lens of privilege – teaching the beauty of deference to the students with self-confidence and social capital, while teaching marginalized students to find communities that can provide them with the self-confidence they need.

And in different contexts, of course, the same student may need both types of instruction.

This post is a bit stream of consciousness, and so I want to pose a question here. Which experience do you think is more educational:

• A student runs a blog on open source software that expresses their opinions on selected chapters of Ready Player One – and gets a comment by author Ernest Cline!!!

• A heterosexual cis student resolves (individually) to follow 20 trans leaders on Twitter and retweet two things they say a week (with the student possibly using a pseudonymous account not tied to their identity). Other students examine their own bubbles and do similar things.

Story number one is the sort of story I used to tell ten years ago at conferences (albeit about different books). But that was before the attention economy swallowed democracy and everything else. Today I’m far more interested in story two, a story that is about not producing, and staying relatively invisible.

Attention (and knowledge of how to get that attention) is still important, of course. But attention for what? For what purpose? I’ve moved from the question of “How do we express ourselves on the internet?” to “How do we be better people on the internet?” Or maybe most importantly, “How do we use the internet to become better people?” Sometimes that involves creating, of course. But if we wish to do more than reinforce the rhetoric of the attention economy, we have to stop seeing that as some sort of peak activity. These skills aren’t a pyramid you climb, and creation is not a destination. Graduating a few more students who understand that will likely make the world a better place for everyone."
attention  productivity  socialmedia  mikecaulfield  2017  attentioneconomy  listenting  internet  web  online  benjamindoxtdator  sfsh  socialcapital  presentationofself  creativity  creation  resistance  listening  thinking  cv 
september 2017 by robertogreco
Why capitalism can’t survive without socialism - Vox
"Sean Illing

This raises a thorny question: The kinds of skills this technological economy rewards are not skills that a majority of the population possesses. Perhaps a significant number of people simply can’t thrive in this space, no matter how much training or education we provide.

Eric Weinstein

I think that's an interesting question, and it depends a lot on your view of education. Buckminster Fuller (a prominent American author and architect who died in 1983) said something to the effect of, "We're all born geniuses, but something in the process of living de-geniuses us." I think with several years more hindsight, we can see that the thing that de-geniuses us is actually our education.

The problem is that we have an educational system that's based on taking our natural penchant for exploration and fashioning it into a willingness to take on mind-numbing routine. This is because our educational system was designed to produce employable products suitable for jobs, but it is jobs that are precisely going to give way to an economy increasingly based on one-off opportunities.

Sean Illing

That’s a problem with a definable but immensely complicated solution.

Eric Weinstein

Part of the question is, how do we disable an educational system that is uniformizing people across the socioeconomic spectrum in order to remind ourselves that the hotel maid who makes up our bed may in fact be an amateur painter? The accountant who does our taxes may well have a screenplay that he works on after the midnight hour? I think what is less clear to many of our bureaucrats in Washington is just how much talent and creativity exists through all walks of life.

What we don't know yet is how to pay people for those behaviors, because many of those screenplays and books and inventions will not be able to command a sufficiently high market price, but this is where the issue of some kind of hybridization of hypercapitalism and hypersocialism must enter the discussion.

“We will see the beginning stirrings of revolution as the cost for this continuing insensitivity”
Sean Illing

Let's talk about that. What does a hybrid of capitalism and socialism look like?

Eric Weinstein

I don't think we know what it looks like. I believe capitalism will need to be much more unfettered. Certain fields will need to undergo a process of radical deregulation in order to give the minority of minds that are capable of our greatest feats of creation the leeway to experiment and to play, as they deliver us the wonders on which our future economy will be based.

By the same token, we have to understand that our population is not a collection of workers to be input to the machine of capitalism, but rather a nation of souls whose dignity, well-being, and health must be considered on independent, humanitarian terms. Now, that does not mean we can afford to indulge in national welfare of a kind that would rob our most vulnerable of a dignity that has previously been supplied by the workplace.

People will have to be engaged in socially positive activities, but not all of those socially positive activities may be able to command a sufficient share of the market to consume at an appropriate level, and so I think we're going to have to augment the hypercapitalism which will provide the growth of the hypersocialism based on both dignity and need.

Sean Illing

I agree with most of that, but I’m not sure we’re prepared to adapt to these new circumstances quickly enough to matter. What you’re describing is a near-revolutionary shift in politics and culture, and that’s not something we can do on command.

Eric Weinstein

I believe that once our top creative class is unshackled from those impediments which are socially negative, they will be able to choose whether capitalism proceeds by evolution or revolution, and I am hopeful that the enlightened self-interest of the billionaire class will cause them to take the enlightened path toward finding a rethinking of work that honors the vast majority of fellow citizens and humans on which their country depends.

Sean Illing

Are you confident that the billionaire class is so enlightened? Because I'm not. All of these changes were perceptible years ago, and yet the billionaire class failed to take any of this seriously enough. The impulse to innovate and profit subsumes all other concerns as far as I can tell."



"Sean Illing

I suppose that’s my point. If the people with the power to change things are sufficiently cocooned that they fail to realize the emergency while there’s still time to act, where does that leave us?

Eric Weinstein

Well, the claim there is that there will be no warning shots across the bow. I guarantee you that when the Occupy Wall Street demonstrators left the confines of Zuccotti Park and came to visit the Upper East Side homes of Manhattan, it had an immediate focusing on the mind of those who could deploy a great deal of capital. Thankfully, those protesters were smart enough to realize that a peaceful demonstration is the best way to advertise the potential for instability to those who have yet to do the computation.

“We have a system-wide problem with embedded growth hypotheses that is turning us all into scoundrels and liars”
Sean Illing

But if you're one of those Occupy Wall Street protesters who fired off that peaceful warning shot across the bow six years ago, and you reflect on what’s happened since, do have any reason to think the message was received? Do you not look around and say, “Nothing much has changed”? The casino economy on Wall Street is still humming along. What lesson is to be drawn in that case?

Eric Weinstein

Well, that's putting too much blame on the bankers. I mean, the problem is that the Occupy Wall Street protesters and the bankers share a common delusion. Both of them believe the bankers are more powerful in the story than they actually are. The real problem, which our society has yet to face up to, is that sometime around 1970, we ended several periods of legitimate exponential growth in science, technology, and economics. Since that time, we have struggled with the fact that almost all of our institutions that thrived during the post-World War II period of growth have embedded growth hypotheses into their very foundation.

Sean Illing

What does that mean, exactly?

Eric Weinstein

That means that all of those institutions, whether they're law firms or universities or the military, have to reckon with steady state [meaning an economy with mild fluctuations in growth and productivity] by admitting that growth cannot be sustained, by running a Ponzi scheme, or by attempting to cannibalize others to achieve a kind of fake growth to keep those particular institutions running. This is the big story that nobody reports. We have a system-wide problem with embedded growth hypotheses that is turning us all into scoundrels and liars."



"Sean Illing

So our entire economy is essentially a house of cards, built on outdated assumptions and pushed along with gimmicks like quantitative easing. It seems we’ve gotten quite good at avoiding facing up to the contradictions of our civilization.

Eric Weinstein

Well, this is the problem. I sometimes call this the Wile E. Coyote effect because as long as Wile E. Coyote doesn't look down, he's suspended in air, even if he has just run off a cliff. But the great danger is understanding that everything is flipped. During the 2008 crisis, many commentators said the markets have suddenly gone crazy, and it was exactly the reverse. The so-called great moderation that was pushed by Alan Greenspan, Timothy Geithner, and others was in fact a kind of madness, and the 2008 crisis represented a rare break in the insanity, where the market suddenly woke up to see what was actually going on. So the acute danger is not madness but sanity.

The problem is that prolonged madness simply compounds the disaster to come when sanity finally sets in."
2017  capitalism  socialism  business  dystopia  history  seanilling  ericweinstein  economics  politics  policy  productivity  technology  inequality  revolution  dignity  creativeclass  creativity  repetition  ows  occupywallstreet  banks  banking  finance  ponzischemes  alangreenspan  timothygeitner  civilization  systems  systemsthinking  growth  society  science  automation 
august 2017 by robertogreco
things weren't better then, they just spent less time nostalgic for the past
"Have you seen Peter Gabriel’s Sledgehammer lately? It popped up when something else I was playing on Youtube ended and I can’t stop thinking about it. Now I want to send it to every VR guy who says something like, “well, actually it took fifty years of film before Citizen Kane..” Well, actually it took four years of MTV before they made this:

[image]

Why isn’t VR as good as music videos were in the 80s? This week people went wild over an AR recreation of A-ha's “Take on me.” It’s a technical achievement but not a creative one. A creative achievement would be to this moment what “Take on me” was in 1984. Something doesn’t need to be technically advanced to capture people’s imaginations as that video did, but I don’t see any entry points in the industry or attempts to nurture that kind of talent. 

VR/AR is ad-tech. Everything built in studios (except for experimental projects from independent artists) is advertising something. That empathy stuff? That's advertising for nonprofits. But mostly VR is advertising itself. While MTV was advertising musicians, the scale and creative freedom meant that it launched careers for people like Michel Gondry, Antoine Fuqua, David Fincher, Spike Jonze, Jonathan Dayton and Valerie Faris, etc. A band from a town like Louisville or Tampa could get in touch with a local filmmaker and collaborate on a project and hope that 120 Minutes picks it up. There were entry points like that. And the audience was eager to see something experimental. But a VR audience is primed to have something like a rollercoaster experience, rather than an encounter with the unexpected. The same slimy shapeshifter entrepreneurs that could just as well build martech or chatbots went and colonized the VR space because they have a built in excuse that it took film "fifty years before Orson Wells." Imagine that. A blank check and a deadline in fifty years.

No one wants to get inside some sweaty uncomfortable headset unless they are going to be rewarded with something at least as good as music videos were in 1984. But who is ushering in talent rather than hype? VR is starting as an institutional and commercial monster rather than scaling into institutional power. It’s like if the art market came before art."
joannemcneil  2017  vr  ar  virtualreality  augmentedreality  mtv  musicvideos  art  advertising  michelgondry  spikejonze  antoinefuqua  davidflincher  jonathandayton  valeriefaris  experimentation  unexpected  surprise  creativity  artmarket 
july 2017 by robertogreco
School of Machines, Making & Make-Believe
"School of Machines, Making & Make-Believe is an organisation dedicated to the imaginative exploration of art, technology, design, and human connection. We’re passionate about interactivity and storytelling. We enjoy learning and playing with tools that make our brains and our dreams come to life! Wanna join us?

We curate experimental formats for learning, a creative work-holiday of sorts. We run several intensive full-time four-week programs in Berlin, Germany, each with well-known instructors and a unique topic and focus.

We've started taking our programs to other cities in Europe and plan to experiment in 2017 with new ways of bringing people together in the form of a machine learning residency, online classes geared towards art, tech, and activism, plus more! Stay tuned!

We invite creative people of all kinds -- artists, teachers, technologists, makers, engineers, designers, the curious, people passionate about learning and creativity, those who secretly desire to create something meaningful -- all are encouraged to participate."

[See also:
https://twitter.com/schoolofmaaa
https://www.instagram.com/schoolofma/ ]
art  diy  education  berlin  making  lcproject  openstudioproject  sfsh  storytelling  interactive  creativity  racheluwa  kathrynzazenski  christiankokott  merediththomas  ritaeperjesi  zolazakiya  schoolofmaaa 
july 2017 by robertogreco
The Uni Project
"The Uni Project is a nonprofit that brings learning opportunities to public space in New York City. Using custom-designed installations, we pop up in parks, plazas, and other public spaces to offer reading, drawing, and hands-on activities that let New Yorkers embrace the act of learning. We partner with community organizations and city agencies, and we prioritize underserved locations."

[via: https://twitter.com/findtheuni/status/886749020684791808 ]
nyc  sfsh  openstudioproject  lcproject  making  creativity  pop-ups  learning  nonprofit  mobile  portable  classideas  schooldesign  workinpublic  nonprofits 
july 2017 by robertogreco
The Art of Teaching
[via: "The slide deck for the workshop is superb. Such a great experience, so grateful to @tchoi8 & the other participants." https://twitter.com/dphiffer/status/879465006449909760

referencing also: "How I learn to build things. Something I created for @tchoi8’s Art of Learning workshop at @eyeofestival."
https://twitter.com/dphiffer/status/879366496354488322 ]

[video: "Absence is Presence with Distance"
https://vimeo.com/234330230

"As an artist, I work with technology and narrative – formal and relational projects. As an activist, I examine personal and political – practice and praxis. As an educator, I create feedback between plastic and elastic – learning and unlearning. My talk is set at the dawn. We are waiting for the sun to rise and we are full of questions. What’s the role of an artist as an activist now? How can we critique oppressive systems that create the sense of ‘others’ based on ability and legal status? What’s kind of pedagogy can we experiment through alternative schools? How can we create a community among those who have nothing in common? By creating art, we can give form to our intentions, contribute to making the world we want to live in.

( For a companion posting to this talk visit:

https://medium.com/@tchoi8/absence-is-presence-with-distance-c0712aada56c )]
taeyoonchoi  education  teaching  purpose  routine  ritual  silence  flow  conflict  communication  structure  nurture  authority  kojinkaratani  jean-lucnancy  community  howweteach  pedagogy  learning  howwelearn  eyeo2017  unlearning  curriculum  syllabus  sfpc  schoolforpoeticcomputation  art  craft  beauty  utility  generosity  sfsh  tcsnmy  lcproject  openstudioproject  classideas  cv  reciprocity  gifts  kant  discretion  instruction  discipline  johndewey  bmc  blackmountaincollege  justice  annialbers  stndardization  weaving  textiles  making  projectbasedlearning  materials  progress  progressive  unschooling  deschooling  control  experimentation  knowledge  fabrication  buckminsterfuller  constructivism  constructionism  georgehein  habit  freedom  democracy  paulofreire  judithbutler  sunaurataylor  walking  christinesunkim  uncertainty  representation  intervention  speculation  simulation  christopheralexander  objectives  outcomes  learningoutcomes  learningobjectives  remembering  creativity  evaluation  application  analysis  understanding  emancipation  allankaprow  judychicago  s 
june 2017 by robertogreco
Soulellis: Artistic Practice in 24-Hour Light Rhode Island...
"Artistic Practice in 24-Hour Light
Rhode Island School of Design
Reykjavík, Iceland
14 June – 4 July 2017

Artistic Practice in 24-Hour Light is a course for 13 students in Reykjavík, Iceland. The three-week program is modeled as an artists’ residency and collaborative creative practice, culminating in a public happening. Students will develop their own work, with guidance and support from the instructors and visiting artists. We begin with a series of open prompts, developed as a collaborative teaching tool with Sal Randolph, to bring city/landscape/place into the studio. The course encourages seeing, writing, thinking, and making, towards the development of a new work (or a small body of work).

Continuous solstice light and a vibrant artists’ community will be the context for on-site experimental making, engaging with public, and performing publishing. Our studio will be located at Iceland Academy of the Arts. This intensive course investigates new ways to make poetic work in response to place, using wild terrain, white nights, public space, the street, studio practice, the internet, and one of the world’s oldest continuously functioning democracies as our studio at large. 

With visits to Hveragerði, Snæfellsnes, Vatnasafn, and Hvalfjörður. 

The program concludes with a performative event, to be staged at Mengi on our final night.   

With guidance from Bryndís Ragnarsdóttir, DIspersed Holdings (Sal Randolph & David Richardson), guest artists, and writers. 

[via: "trying to run it like an artists' residency, with guidance but lots of freedom."
https://www.instagram.com/p/BVpR3HCnIbO/
2017  paulsoulellis  iceland  risf  reykjavík  art  design  residencies  openstudioproject  lcproject  classideas  salrandolph  happenings  creativity  writing  travel  collaboration  making  workinginpublic  thinking  poetry  artbooks  aritistsbooks 
june 2017 by robertogreco
Anne Lamott: 12 truths I learned from life and writing | TED Talk | TED.com
"Number one: the first and truest thing is that all truth is a paradox. Life is both a precious, unfathomably beautiful gift, and it's impossible here, on the incarnational side of things. …

Number two: almost everything will work again if you unplug it for a few minutes — including you. …

Three: there is almost nothing outside of you that will help in any kind of lasting way, unless you're waiting for an organ. You can't buy, achieve or date serenity and peace of mind. This is the most horrible truth, and I so resent it. But it's an inside job, and we can't arrange peace or lasting improvement for the people we love most in the world. They have to find their own ways, their own answers. You can't run alongside your grown children with sunscreen and ChapStick on their hero's journey. You have to release them. It's disrespectful not to. And if it's someone else's problem, you probably don't have the answer, anyway. …

number four: everyone is screwed up, broken, clingy and scared, even the people who seem to have it most together. They are much more like you than you would believe, so try not to compare your insides to other people's outsides. It will only make you worse than you already are.

Also, you can't save, fix or rescue any of them or get anyone sober. What helped me get clean and sober 30 years ago was the catastrophe of my behavior and thinking. So I asked some sober friends for help, and I turned to a higher power. One acronym for God is the "gift of desperation," G-O-D, or as a sober friend put it, by the end I was deteriorating faster than I could lower my standards.

So God might mean, in this case, "me running out of any more good ideas.

While fixing and saving and trying to rescue is futile, radical self-care is quantum, and it radiates out from you into the atmosphere like a little fresh air. It's a huge gift to the world. When people respond by saying, "Well, isn't she full of herself," just smile obliquely like Mona Lisa and make both of you a nice cup of tea. Being full of affection for one's goofy, self-centered, cranky, annoying self is home. It's where world peace begins.

Number five: chocolate with 75 percent cacao is not actually a food. …

writing. Every writer you know writes really terrible first drafts, but they keep their butt in the chair. That's the secret of life. That's probably the main difference between you and them. They just do it. They do it by prearrangement with themselves. They do it as a debt of honor. They tell stories that come through them one day at a time, little by little. When my older brother was in fourth grade, he had a term paper on birds due the next day, and he hadn't started. So my dad sat down with him with an Audubon book, paper, pencils and brads — for those of you who have gotten a little less young and remember brads — and he said to my brother, "Just take it bird by bird, buddy. Just read about pelicans and then write about pelicans in your own voice. And then find out about chickadees, and tell us about them in your own voice. And then geese."

So the two most important things about writing are: bird by bird and really god-awful first drafts. If you don't know where to start, remember that every single thing that happened to you is yours, and you get to tell it. If people wanted you to write more warmly about them, they should've behaved better. …

Seven: publication and temporary creative successes are something you have to recover from. They kill as many people as not. They will hurt, damage and change you in ways you cannot imagine. The most degraded and evil people I've ever known are male writers who've had huge best sellers. And yet, returning to number one, that all truth is paradox, it's also a miracle to get your work published, to get your stories read and heard. Just try to bust yourself gently of the fantasy that publication will heal you, that it will fill the Swiss-cheesy holes inside of you. It can't. It won't. But writing can. So can singing in a choir or a bluegrass band. So can painting community murals or birding or fostering old dogs that no one else will.

Number eight: families. Families are hard, hard, hard, no matter how cherished and astonishing they may also be. Again, see number one. …

Nine: food. Try to do a little better. I think you know what I mean.

Number 10 — grace. Grace is spiritual WD-40, or water wings. The mystery of grace is that God loves Henry Kissinger and Vladimir Putin and me exactly as much as He or She loves your new grandchild. Go figure.

The movement of grace is what changes us, heals us and heals our world. To summon grace, say, "Help," and then buckle up. Grace finds you exactly where you are, but it doesn't leave you where it found you. And grace won't look like Casper the Friendly Ghost, regrettably. But the phone will ring or the mail will come and then against all odds, you'll get your sense of humor about yourself back. Laughter really is carbonated holiness. It helps us breathe again and again and gives us back to ourselves, and this gives us faith in life and each other. And remember — grace always bats last.

Eleven: God just means goodness. It's really not all that scary. It means the divine or a loving, animating intelligence, or, as we learned from the great "Deteriorata," "the cosmic muffin." A good name for God is: "Not me." Emerson said that the happiest person on Earth is the one who learns from nature the lessons of worship. So go outside a lot and look up. My pastor said you can trap bees on the bottom of mason jars without lids because they don't look up, so they just walk around bitterly bumping into the glass walls. Go outside. Look up. Secret of life.

And finally: death. Number 12. Wow and yikes. It's so hard to bear when the few people you cannot live without die. You'll never get over these losses, and no matter what the culture says, you're not supposed to. We Christians like to think of death as a major change of address, but in any case, the person will live again fully in your heart if you don't seal it off. Like Leonard Cohen said, "There are cracks in everything, and that's how the light gets in." And that's how we feel our people again fully alive.

Also, the people will make you laugh out loud at the most inconvenient times, and that's the great good news. But their absence will also be a lifelong nightmare of homesickness for you. Grief and friends, time and tears will heal you to some extent. Tears will bathe and baptize and hydrate and moisturize you and the ground on which you walk.

Do you know the first thing that God says to Moses? He says, "Take off your shoes." Because this is holy ground, all evidence to the contrary. It's hard to believe, but it's the truest thing I know. When you're a little bit older, like my tiny personal self, you realize that death is as sacred as birth. And don't worry — get on with your life. Almost every single death is easy and gentle with the very best people surrounding you for as long as you need. You won't be alone. They'll help you cross over to whatever awaits us. As Ram Dass said, "When all is said and done, we're really just all walking each other home."

I think that's it, but if I think of anything else, I'll let you know."
via:austinkleon  life  living  writing  grace  2017  success  creativity  families  brokenness  advice  parenting  howwewrite  publication  goodness  god  worship  nature  outdoors  ralfaldoemerson  death 
june 2017 by robertogreco
Hivemind
"This paper explores an interesting question in creative collaboration: "does sharing multiple designs improve collaboration?"

The authors created a controlled study in which pairs of designers worked individually, then shared and critiqued each others' work in one of three different ways, then revised their work.

The three conditions: making multiple variant designs and sharing all; making multiple variant designs and sharing one; focusing all efforts on just one design.

The results? "Sharing multiple designs improved outcome, exploration, sharing, and group rapport." Effects were generally substantive and at least moderately powerful.

Some cute experimental methods, too: besides subjective quality ratings, participants were designing banner ads, so one measured "outcome" was the clickthrough rate. They also had blind outsiders rate the "delta" between iterations as a proxy for "how much exploration" was happening in groups."
stevendow  juliefortuna  danschwartz  bethaltringer  danielschwartz  scottklemmer  design  collaboration  collaborative  ideation  multiplicity  creativity 
june 2017 by robertogreco
Is the U.S. Education System Producing a Society of “Smart Fools”? - Scientific American
[had me until he says more (a new kind of) testing is the answer to the problem]

"At last weekend’s annual meeting of the Association for Psychological Science (APS) in Boston, Cornell University psychologist Robert Sternberg sounded an alarm about the influence of standardized tests on American society. Sternberg, who has studied intelligence and intelligence testing for decades, is well known for his “triarchic theory of intelligence,” which identifies three kinds of smarts: the analytic type reflected in IQ scores; practical intelligence, which is more relevant for real-life problem solving; and creativity. Sternberg offered his views in a lecture associated with receiving a William James Fellow Award from the APS for his lifetime contributions to psychology. He explained his concerns to Scientific American.

[An edited transcript of the interview follows.]

In your talk, you said that IQ tests and college entrance exams like the SAT and ACT are essentially selecting and rewarding “smart fools”—people who have a certain kind of intelligence but not the kind that can help our society make progress against our biggest challenges. What are these tests getting wrong?

Tests like the SAT, ACT, the GRE—what I call the alphabet tests—are reasonably good measures of academic kinds of knowledge, plus general intelligence and related skills. They are highly correlated with IQ tests and they predict a lot of things in life: academic performance to some extent, salary, level of job you will reach to a minor extent—but they are very limited. What I suggested in my talk today is that they may actually be hurting us. Our overemphasis on narrow academic skills—the kinds that get you high grades in school—can be a bad thing for several reasons. You end up with people who are good at taking tests and fiddling with phones and computers, and those are good skills but they are not tantamount to the skills we need to make the world a better place.

What evidence do you see of this harm?

IQ rose 30 points in the 20th century around the world, and in the U.S. that increase is continuing. That’s huge; that’s two standard deviations, which is like the difference between an average IQ of 100 and a gifted IQ of 130. We should be happy about this but the question I ask is: If you look at the problems we have in the world today—climate change, income disparities in this country that probably rival or exceed those of the gilded age, pollution, violence, a political situation that many of us never could have imaged—one wonders, what about all those IQ points? Why aren’t they helping?

What I argue is that intelligence that’s not modulated and moderated by creativity, common sense and wisdom is not such a positive thing to have. What it leads to is people who are very good at advancing themselves, often at other people’s expense. We may not just be selecting the wrong people, we may be developing an incomplete set of skills—and we need to look at things that will make the world a better place.

Do we know how to cultivate wisdom?

Yes we do. A whole bunch of my colleagues and I study wisdom. Wisdom is about using your abilities and knowledge not just for your own selfish ends and for people like you. It’s about using them to help achieve a common good by balancing your own interests with other people’s and with high-order interests through the infusion of positive ethical values.

You know, it’s easy to think of smart people but it’s really hard to think of wise people. I think a reason is that we don’t try to develop wisdom in our schools. And we don’t test for it, so there’s no incentive for schools to pay attention.

Can we test for wisdom and can we teach it?

You learn wisdom through role-modeling. You can start learning that when you are six or seven. But if you start learning what our schools are teaching, which is how to prepare for the next statewide mastery tests, it crowds out of the curriculum the things that used to be essential. If you look at the old McGuffey Readers, they were as much about teaching good values and good ethics and good citizenship as about teaching reading. It’s not so much about teaching what to do but how to reason ethically; to go through an ethical problem and ask: How do I arrive at the right solution?

I don’t always think about putting ethics and reasoning together. What do you mean by that?

Basically, ethical reasoning involves eight steps: seeing that there’s a problem to deal with (say, you see your roommate cheat on an assignment); identifying it as an ethical problem; seeing it as a large enough problem to be worth your attention (it’s not like he’s just one mile over the speed limit); seeing it as personally relevant; thinking about what ethical rules apply; thinking about how to apply them; thinking what are the consequences of acting ethically—because people who act ethically usually don’t get rewarded; and, finally, acting. What I’ve argued is ethical reasoning is really hard. Most people don’t make it through all eight steps.

If ethical reasoning is inherently hard, is there really less of it and less wisdom now than in the past?

We have a guy [representative-elect Greg Gianforte of Montana] who allegedly assaulted a reporter and just got elected to the U.S. House of Representatives—and that’s after a 30-point average increase in IQ. We had violence in campaign rallies. Not only do we not encourage creativity, common sense and wisdom, I think a lot of us don’t even value them anymore. They’re so distant from what’s being taught in schools. Even in a lot of religious institutions we’ve seen a lot of ethical and legal problems arise. So if you’re not learning these skills in school or through religion or your parents, where are you going to learn them? We get people who view the world as being about people like themselves. We get this kind of tribalism.

So where do you see the possibility of pushing back?

If we start testing for these broader kinds of skills, schools will start to teach to them, because they teach to the test. My colleagues and I developed assessments for creativity, common sense and wisdom. We did this with the Rainbow Project, which was sort of experimental when I was at Yale. And then at Tufts, when I was dean of arts and sciences, we started Kaleidoscope, which has been used with tens of thousands of kids for admission to Tufts. They are still using it. But it’s very hard to get institutions to change. It’s not a quick fix. Once you have a system in place, the people who benefit from it rise to the top and then they work very hard to keep it.

Looking at the broader types of admission tests you helped implement—like Kaleidoscope at Tufts, the Rainbow Project at Yale, or Panorama at Oklahoma State, is there any evidence that kids selected for having these broader skills are in any way different from those who just score high on the SAT?

The newly selected kids were different. I think the folks in admissions would say so, at least when we started. We admitted kids who would not have gotten in under the old system—maybe they didn’t quite have the test scores or grades. When I talk about this, I give examples, such as those who wrote really creative essays.

Has there been any longitudinal follow-up of these kids?

We followed them through the first year of college. With Rainbow we doubled prediction [accuracy] for academic performance, and with Kaleidoscope we could predict the quality of extracurricular performance, which the SAT doesn’t do.

Do you think the emphasis on narrow measures like the SAT or GRE is hurting the STEM fields in particular?

I think it is. I think it’s hurting everything. We get scientists who are very good forward incrementers—they are good at doing the next step but they are not the people who change the field. They are not redirectors or reinitiators, who start a field over. And those are the people we need.

Are you hopeful about change?

If one could convince even a few universities and schools to try to follow a different direction, others might follow. If you start encouraging a creative attitude, to defy the crowd and to defy the zeitgeist, and if you teach people to think for themselves and how what they do affects others, I think it’s a no-lose proposition. And these things can be taught and they can be tested."
education  science  social  wisdom  iq  meritocracy  intelligence  2017  psychology  claudiawallis  robertsternberg  performance  creativity  unschooling  deschooling  lcproject  openstudioproject  sfsh  tcsnmy  rainbowproject  power  ethics  reasoning  values  learning  selfishness  gildedage  inequality  climatechange  pollution  violence  testing  standardizedtesting  standardization  sat  gre  act  knowledge  teachingtothetest 
june 2017 by robertogreco
Alec Soth en Instagram: “The 1972 edition of Aperture: Octave of Prayer: An Exhibition on a Theme. Compiled with text by Minor White.”
"The 1972 edition of Aperture: Octave of Prayer: An Exhibition on a Theme. Compiled with text by Minor White."



"PHOTOGRAPHS FOR MEDITATION

Art, poetry, music, as they are in their ordinary functioning, create mental and vital, not spiritual values; but they can be turned to a higher end, and then, like all things that are capable of linking our consciousness to the Divine, they are transmuted and become spiritual and can be admitted as a part of a life of prayer.

Sri Aurobindo
The Riddle of this World"



"CAMERA WORK AND MEDITATION

Intensified concentration is common to all creative people. Scientists, artists, philosophers name this degree of concentration Creativity; the devout call it Meditation.

Losing one's self in something; a flower, and idea, a movement, is characteristic of heightened concentration. Occasionally in this state a sense of oneness or union is felt. In creativity union is with the flower or with the idea; in Meditation the union is with some aspect of God. Since flowers and ideas are aspects of God, we can see the connection of creativity to meditation.

Updating the saintly researchers, meditation, in the full octave of prayer, prayer¹ to prayer⁷, is the third stage, or prayer³.

The reason the arts cannot follow further up the ladder of prayer is that artists and cameraworkers are "held back by their medium and their senses and so cannot allow the full inebriation of the soul."

(Evelyn Underhill)"



[chart: "THE FULL OCTAVE OF PRAYER"]



"CATALYSTS FOR CONTEMPLATION

Photographers say they look at the world
with truth and love
Saintly students of prayer swear
that truth and love are seen only in contemplation
a very high level of prayer indeed.

What would we see in photographs
if we could look at them in contemplation?
Catalysts at best; they can never be prayer.
Yet gazing t them in love and truth
We are vulnerable, woundable by the rays of Love."
minorwhite  1972  books  art  creativity  meditation  concentration  prayer  contemplation  poetry  music  spirituality  divine  sriaurobindo  photography 
june 2017 by robertogreco
The Amazing, Tumultuous, Wild, Wonderful, Teenage Brain - Mindful
"Brain changes during the early teen years set up four qualities of our minds during adolescence: novelty seeking, social engagement, increased emotional intensity, and creative exploration. There are changes in the fundamental circuits of the brain that make the adolescent period different from childhood. Each of these changes is necessary to create the important shifts that happen in our thinking, feeling, interacting, and decision-making during adolescence.

NOVELTY SEEKING emerges from an increased drive for rewards in the circuits of the adolescent brain that creates the inner motivation to try something new and feel life more fully, creating more engagement in life.

Downside: Sensation seeking and risk taking that overemphasize the thrill and downplay the risk resulting in dangerous behaviors and injury. Impulsivity can make an idea turn into an action with a pause to reflect on the consequences.

Upside: Being open to change and living passionately develop into a fascination for life and a drive to design new ways of doing things and living with a sense of adventure.

SOCIAL ENGAGEMENT enhances peer connectedness and creates new friendships.

Downside: Teens isolated from adults and surrounded only by other teens have increased-risk behavior, and the total rejection of adults and adult knowledge and reasoning increases those risks.

Upside: The drive for social connection leads to the creation of supportive relationships that are the research-proven best predictors of well-being, longevity, and happiness throughout the life span.

INCREASED EMOTIONAL INTENSITY gives an enhanced vitality to life.

Downside: Intense emotion may rule the day, leading to impulsivity, moodiness, and extreme sometimes unhelpful reactivity.

Upside: Life lived with emotional intensity can be filled with energy and a sense of vital drive that give an exuberance and zest for being alive on the planet.

CREATIVE EXPLORATION with an expanded sense of consciousness. An adolescent’s new conceptual thinking and abstract reasoning allow questioning of the status quo, approaching problems with “out of the box” strategies, the creation of new ideas, and the emergence of innovation.

Downside: Searching for the meaning of life during the teen years can lead to a crisis of identity, vulnerability to peer pressure, and a lack of direction and purpose.

Upside: If the mind can hold on to thinking and imagining and perceiving the world in new ways within consciousness, of creatively exploring the spectrum of experiences that are possible, the sense of being in a rut that can sometimes pervade adult life can be minimized and instead an experience of the “ordinary being extraordinary” can be cultivated. Not a bad strategy for living a full life!"
teens  sfsh  adolescence  youth  brain  novelty  creativity  engagement  bahavior  psychology  social  risk  risktaking  emotions  consiousness  vulnerability  peerpressure 
may 2017 by robertogreco
Books that have shaped our thinking – Nava PBC
"Recommended reads related to civic tech, health, government, behavioral science, design and engineering

At Nava we have a living Google Doc where we link to books that help us understand the systems and architecture we use. The intention of this document is to form a baseline of readings that new employees will need and to share with other employees good resources for being productive.

Below are some of our favorites from that list:

Sorting Things Out: Classification and its Consequences
by Susan Leigh Star and Geoffrey C. Bowker
This covers, in great detail, the astounding ways that the models we make for the world end up influencing how we interact with it. This is incredibly relevant to our work: the data models we define and the way we classify and interpret data have profound and often invisible impacts on large populations. — Sha Hwang, Co-founder and Head of Creative

Decoded
by Jay Z
Decoded is Jay Z’s autobiography and describes his experience as a black man growing up in an impoverished neighborhood in NYC. In particular, there is a passage about poor people’s relationship to the government that changed the way I think about the perception of those government services that I work to improve. This book showed me that the folks we usually want to serve most well in government, are the ones who are most likely to have had profoundly negative experiences with government. It taught me that, when I work on government services, I am rebuilding a relationship, not starting a new one. Context is so important. It’s a fun, fast read and I used to ask that our Apprentices read at least that passage, if not the whole book, before starting with our team at the NYC Mayor’s Office. — Genevieve Gaudet, Designer

Seeing like a State
by James C. Scott
A reminder that the governance of people at scale can have unintended consequences when removed from people’s daily lives and needs. You won’t think of the grid, property lines, and last names the same way again.— Shelly Ni, Designer

Quiet: The Power of Introverts in a World That Can’t Stop Talking
by Susan Cain
Cain uses data and real world examples of how and why introverts are overlooked in American culture and then discusses how both introverts and extroverts can play a role in ensuring introverts get a seat at the table and a word in the conversation. — Aimee Barciauskas, Software Engineer

Capital in the Twenty-First Century
by Thomas Piketty
This book analyzes the long-term fluctuations in wealth inequality across the globe, from the eighteenth century to present. He exposes an incredibly important issue in a compelling way, using references not just to data, but to history and literature to prove his point. — Mari Miyachi, Software Engineer

Master of the Senate: The Years of Lyndon Johnson III
by Robert A. Caro
Our most underhanded president also brought us Medicaid, Medicare, and civil rights. Was Machiavelli so bad after all? — Alex Prokop, Software Engineer

Praying for Sheetrock
by Melissa Fay Greene
A true, close-up story of McIntosh County, Georgia, a place left behind by the greater Civil Rights movement of the 1960s. This is a story about the civil rights movement that shakes up the community in the 1970s, and this is also a story about burnout, and organizing, and intergenerational trauma. — Shelly Ni, Designer

The Healing of America: A Global Quest for Better, Cheaper, and Fairer Health Care
by T. R. Reid
Reid explores different models for healthcare in nations across the globe. He’s searching for an understanding of why America’s system is comparatively so expensive and unsuccessful, leaving so many uninsured and unhealthy. There is a great chapter on Ayurvedic medicine which (spoiler alert) seemed to work for the author when he was suffering from a shoulder injury! — Aimee Barciauskas, Software Engineer

Creativity, Inc: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
by Ed Catmull and Amy Wallace
A very enjoyable and inspirational read about the history of Pixar from founder Ed Catmull himself. It delves into what sets a creative company apart and teaches lessons like “people are more important than ideas” and “simple answers are seductive” without reading like a typical business book.— Lauren Peterson, Product Manager

Thinking, Fast and Slow
by Daniel Kahneman
The magnum opus of Nobel laureate Daniel Kahneman. Kahneman is a psychologist but his Nobel is in Economics, and unlike other winners in this category, his win stands the test of time. You will be a much better decision maker after reading this book and understanding the two modes our brains work in: System 1 intuitive “fast” thinking and System 2 deliberate “slow” thinking. It is a beast of a book, but unlike the vast majority of (pop) psychology books, this book distills decades of groundbreaking research and is the basis for so many other psychology books and research that if you read this book carefully, you won’t have to read those other books. There are so many topics in this book, I’ll just link to the Wikipedia page to give you a flavor.— Alicia Liu, Software Engineer

Nudge
by Richard H. Thaler and Cass R. Sunstein
This covers how sensible “choice architecture” can improve the decisions and behavior of people. Much of what’s covered comes from decades of research in behavioral science and economics, and has a wide range of applications — from design, user research, and policy to business and everyday life. — Sawyer Hollenshead, Designer

The Checklist Manifesto: How to Get Things Right
by Atul Gawande
This book is about how checklists can help even experts avoid mistakes. Experience isn’t enough. I try to apply the lessons of this book to the processes we use to operate our software.—Evan Kroske, Software Engineer

The Soul of a New Machine
by Tracy Kidder
This book details the work of a computer engineering team racing to design a computer. While the pace of work for the team is certainly unsustainable and perhaps even unhealthy at times, the highs and lows they go through as they debug their new minicomputer will be familiar to engineers and members of tight-knit groups of all varieties. The rush to finish their project, which was thought to be a dark horse at the beginning of the book, is enthralling and will keep you engaged with this book late into the night. — Samuel Keller, Software Engineer

Release It!: Design and Deploy Production-Ready Software
by Michael T. Nygard
One of the best, most practical books I’ve ever read about creating resilient software on “modern” web architectures. While it may not be the most relevant with regards to cloud-based infrastructure, the patterns and processes described within are still very applicable. This is one of the few technical books I have read cover-to-cover. — Scott Smith, Software Engineer

Design for Democracy
by Marcia Lausen
From an AIGA project to improve the design of ballots— both paper and electronic— following the “hanging chad” drama of the 2000 election, comes this review of best practices for designers, election officials, and anyone interested in the intersection of design and voting.—Shelly Ni, Designer

The Design of Everyday Things
by Donald A. Norman
This is a classic for learning about design and its sometimes unintended consequences. I read it years ago and I still think about it every time I’m in an elevator. It’s a great introduction to a designer’s responsibility and designing in the real world for actual humans, who can make mistakes and surprising choices about how to use the designs you create. — Genevieve Gaudet, Designer

More recommendations from the team
• The Unexotic Underclass
• Open Government: Collaboration, Transparency, and Participation in Practice
• Everybody Hurts: Content for Kindness
• Poverty Interrupted: Applying Behavioral Science to the Context of Chronic Scarcity [PDF]
• Designing for Social Change: Strategies for Community-Based Graphic Design
• Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels
• The New New Journalism: Conversations with America’s Best Nonfiction Writers on their Craft
• The Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times
• The Effective Engineer: How to Leverage Your Efforts In Software Engineering to Make a Disproportionate and Meaningful Impact
• Effective DevOps: Building a Culture of Collaboration, Affinity, and Tooling at Scale"
nava  books  booklists  design  education  health  healthcare  sawyerhollenshed  jayz  susanleighstar  shahwang  geoffreybowker  decoded  jamescscott  seeinglikeastate  susancain  introverts  quiet  thomaspiketty  economics  melissafaygreene  civilrrights  socialjustice  creativity  edcatmull  amyallace  pixar  teams  readinglists  toread  howwethink  thinking  danielkahneman  government  richardthaler  casssunstein  atulgawande  tracykidder  medicine  checklists  process  michaelnygard  software  ui  ux  democracy  donalnorman  devops  improvisation  collaboration  sfsh  journalism  kindness  socialchange  transparency  participation  participatory  opengovernment  open 
may 2017 by robertogreco
4 years "real" — Funomena
"two very different games that each aim to express the same core messages about community, empathy, and the ultimate value of every person on this planet."



"Making games is a process of creative discovery - embracing the unknown. With each challenge, we have learned new ways to collaborate, to face uncertainty and most importantly to accept our own mistakes and failures as a part of the learning process that makes each of us better colleagues and creatives."



"Most importantly, the process of making art together helps us grow as individuals, capable of dealing with the ups and downs that naturally emerge while solving difficult problems, together, as a team."
funomena  robinhunicke  teams  collaboration  2017  discovery  creativity  empathy  games  gaming  videogames  problemsolving  community  personhood  uncertainty  mistakes  process  howwelearn  learning 
april 2017 by robertogreco
Alan Kay's answer to What made Xerox PARC special? Who else today is like them? - Quora
[I noted on Twitter that "1 through 5 easily adaptable for education. For example: teach students, not subjects."]

"A good book (pretty much the only good book) to read about the research community that Parc was a part of is “The Dream Machine” by Mitchell Waldrop. There you will find out about the ARPA (before the “D”) IPTO (Information Processing Techniques Office) set up in 1962 by the visionary JCR Licklider, who created a research community of 15 or 16 “projects”, mostly at universities, but also a few at places like RAND Corp, Lincoln Labs, Mitre, BBN, SDC, etc.

There was a vision: “The destiny of computers is to become interactive intellectual amplifiers for everyone in the world pervasively networked worldwide”.

A few principles:

1. Visions not goals

2. Fund people not projects — the scientists find the problems not the funders. So, for many reasons, you have to have the best researchers.

3. Problem Finding — not just Problem Solving

4. Milestones not deadlines

5. It’s “baseball” not “golf” — batting .350 is very good in a high aspiration high risk area. Not getting a hit is not an error but the overhead for getting hits. (As in baseball, “error” is failing to pull off something that is technically feasible.)

6. It’s about shaping “computer stuff” to human ends per the vision. Much of the time this required the researchers to design and build pretty much everything, including much of the hardware — including a variety of mainframes — and virtually all of the software needed (including OSs and programming languages, etc.). Many of the ARPA researchers were quite fluent in both HW and SW (though usually better at one than the other). This made for a pretty homogeneous computing culture and great synergy in most projects.

7. The above goes against the commonsense idea that “computer people should not try to make their own tools (because of the infinite Turing Tarpit that results)”. The ARPA idea was a second order notion: “if you can make your own tools, HW and SW, then you must!”. The idea was that if you are going to take on big important and new problems then you just have to develop the chops to pull off all needed tools, partly because of what “new” really means, and partly because trying to do workarounds of vendor stuff that is in the wrong paradigm will kill the research thinking.

8. An important part of the research results are researchers. This extends the “baseball” idea to human development. The grad schools, especially, generally admitted people who “seemed interesting” and judgements weren’t made until a few years down the road. Many of the researchers who ultimately solved most of the many problems of personal computing and networking were created by the ARPA community.

Parc was the last of these “ARPA Projects” to be created, and because of funding changes from the Vietnam war, got its funding from a corporation rather than from ARPA-IPTO. But pretty much all of the computer people at Parc had grown up in ARPA projects in the 60s, and Bob Taylor, who set up the computing research at Parc, had been the 3rd director of ARPA-IPTO.

Bob’s goal was to “Realize The ARPA Dream”.

Parc was highly concentrated with regard to wealth of talents, abilities, vision, confidence, and cooperation. There was no real management structure, so things were organized to allow researchers to “suggest” and “commit” and “decommit” in a more or less orderly fashion.

Quite a lot of the inventions Parc is most known for were done in the first 5 years by a rather small pool of researchers (Butler Lampson estimates about 25 people, and that seems about right).

One of the most interesting ideas at Parc was: “every invention has to be engineered for 100 users”. So if you do a programming language or a DTP word processor, etc, it has to be documented for and usable by 100 people. If you make a personal computer, you have to be able to make 100 of them. If an Ethernet, it has to connect to 100 devices, etc.

There was no software religion. Everyone made the languages and OSs and apps, etc that they felt would advance their research.

Hardware was trickier because of the time and costs needed for replication and doing and making new designs. In practice this worked out pretty easily most of the time — via not too many meetings — and the powers of HW geniuses like Chuck Thacker. A few things — like the disk sectors and simple Ethernet protocols, etc. — were agreed on, mainly to allow more important things to be done more idiosyncratically. In practice, Parc designed and put in the field a variety of Alto designs (about 2000 Altos were built), MAXCs, Dolphins, Dorados, NoteTakers, Dandelions, etc over a period of about 10 years — i.e. quite a lot.

There were key figures. For example, Parc would not have succeeded without Bob Taylor, Butler Lampson, Chuck Thacker, and a few others.

I would call the first 5 years “effectively idyllic”. And the second 5 years “very productive but gradually erosive” (the latter due to Xerox’s many changes of management, and not being able to grapple with either the future, or a possible grand destiny for the company)."
alankay  zeroxparc  2017  vision  goals  funding  milestones  deadlines  errors  tools  toolmaking  education  learning  innovation  creativity  arpa  sfsh  teaching  howweteach  howwelearn  openstudioproject  lcproject  problemsolving  problemfinding 
april 2017 by robertogreco
Remembering Seymour Papert « LRB blog
"We learn by making, doing, constructing. It’s great to think with objects we find in the world. But when we get to build, the great becomes awesome. And these two children, with a computer, were building something of their own in a whole new way. Seymour saw that the computer would make it easier for thinking itself to become an object of thought. When I began to interview children learning to program, I could hear how right he was. It was dramatic. One 13-year-old told me: ‘When you program a computer, you put a little piece of your mind into the computer’s mind and you come to see yourself differently.’ That is heady stuff.

Seymour called the identification of mind and object, mind and machine, the ‘ego-syntonic’ quality of programming. He used the language of syntonicity deliberately, to create a resonance between the language of computation and the language of psychoanalysis. And then he heightened the resonance by talking about body syntonicity as well. Which brings me to the boy draped around the Turtle. Seymour loved to get children to figure out how to program by ‘playing Turtle’. He loved that children could experience their ideas through the Turtle’s physical actions. That they could connect body-to-body with something that came from their mind.

We love the objects we think with; we think with the objects we love. So teach people with the objects they are in love with. And if you are a teacher, measure your success by whether your students are falling in love with their objects. Because if they are, the way they think about themselves will also be changing."



"In his explorations of the ways objects carry identity as well as ideas, you can see Seymour’s desire to take the cool studies of learning that were his Piagetian heritage and infuse them not only with ideas about making things, about action and construction, but also with ideas about feeling things, about love and connection.

At the time of the juggling lesson, Seymour was deep in his experiments into what he called ‘loud thinking’. It was what he was asking my grandfather to do. What are you trying? What are you feeling? What does it remind you of? If you want to think about thinking and the real process of learning, try to catch yourself in the act of learning. Say what comes to mind. And don’t censor yourself. If this sounds like free association in psychoanalysis, it is. (When I met Seymour, he was in analysis with Greta Bibring.) And if it sounds like it could you get you into personal, uncharted, maybe scary terrain, it could. But anxiety and ambivalence are part of learning as well. If not voiced, they block learning.

I studied psychology in the 1970s at Harvard, in William James Hall. The psychologists who studied thinking were on one floor. The psychologists who studied feeling were on another. Metaphorically, for the world of learning, Seymour asked the elevator to stop between the floors so that there could be a new conversation.

He knew that one way to start that conversation was by considering something concrete. An evocative object. He bridged the thinking/feeling divide by writing about the way his love for the gears on a toy car ignited his love of mathematics as a child. From the beginning of my time at MIT, I have asked students to write about an object they loved that became central to their thinking.

A love for science can start with love for a microscope, a modem, a mud pie, a pair of dice, a fishing rod. Plastic eggs in a twirled Easter basket reveal the power of centripetal force; experiments with baking illuminate the geology of planets. Everybody has their own version of the gears. These stories about objects bring to light something central to Seymour’s legacy. For his legacy was not only in how children learn in classrooms and out of them. It’s in using objects to help people think about how they know what they know. A focus on objects brings philosophy into everyday life.

Seymour’s ideas about the power of objects have moved from the worlds of media and education (where he nurtured them) out into larger disciplinary spaces in social science, anthropology, social theory and history. People are studying objects of clothing, objects of kitchenware, objects of science, objects of medical practice and objects of revolutionary culture, in ways that bear the trace of Seymour’s wisdom.

One of the great virtues of putting object studies at the center of learning is that nothing of great value is simple. Take Seymour’s story of the gears that brought him to mathematics. Simple? Not really. Behind those gears was Seymour’s father who gave him the toy car that held the gears. The father he loved, whom he wanted to please, but who didn’t want him to be a mathematician. He wanted him to take over the family pest-control company, so Seymour was all set to study chemical engineering. But then, he was persuaded, though not by his dad, to try a liberal arts course for a year.

Seymour interpreted this as a chance to take a year off to study mathematics and psychology – and well, from there, he became Seymour. But his father didn’t like it. Those gears were emotionally charged with conflict, ambivalence and competition. Seymour had a complex learning story. I think it contributed to his ability to nurture contradiction, innovation, originality, idiosyncracy, creativity. It contributed to the intimate, non-judgmental attention that made him a great teacher and that deep learning in digital culture requires – more and more, of all of us, in order to make more of what he began."
seymourpapert  sherrytutkle  2017  psychology  thinking  howwelearn  howweteach  teaching  education  piaget  objects  constructionism  attention  syntonicity  creativity  contradiction  ambivalence  idiosyncrasy  originality  innovation  judgement  jeanpiaget 
february 2017 by robertogreco
Once a fearsome murderer invaded a Zen master’s home
"It’s a funny thing about agency. People mistake it for power. Donald Trump didn’t run for office because he had agency. The Constitution attempts to secure that right for everyone, but of course it’s failed. The Constitution, in its bleak optimism, assumes that people will play fair. Agency plays fair. But power doesn’t.

In his last book, Pedagogy of Indignation, Paulo Freire offers:
I am convinced that no education intending to be at the service of the beauty of the human presence in the world, at the service of seriousness and ethical rigor, of justice, of firmness of character, of respect for differences...can fulfill itself in the absence of the dramatic relationship between authority and freedom. It is a tense and dramatic relationship in which both authority and freedom, while fully living out their limits and possibilities, learn, almost without respite, to take responsibility for themselves as authority and freedom...

The freedom that derives from learning, early on, how to build internal authority by introjecting the external one, is the freedom that lives out its possibility fully. Possibility derives from lucidly and ethically assuming limits, not from fearfully and blindly obeying them." (p.9-10) [emphases mine]

In other words, agency doesn’t so much exert itself upon others as it does float within the intersection of freedom and authority. Enacting one’s agency is always a balancing act between doing what is within your understanding of your own power and working with the boundaries of others’ understandings of theirs. It is a cooperative, chemical interaction. Freedom delimited by others’ freedoms delimited by yours.

In a classroom, this means that authority remains present. Sometimes, the authority of the teacher; but in the best situation, the shared authority of the group of learners (and the teacher). In the theatre of national politics, the agency of the president is limited by the needs of the people. This is not a system of checks and balances, though. A system of checks and balances assumes certain people have power over other certain people in specific circumstances. That’s a relationship of negotiation at best, manipulation at worst; and it’s a relationship of power.

Donald Trump doesn’t understand agency. He doesn’t understand that his will should be limited by the freedoms of others. He is not humane. He is not considerate. He is not wise. These are not the qualifications of every president, but they are the aspiration. No, they are the expectation. Yet no one expects consideration, humanity, or wisdom from Donald Trump. On both sides of the voting population, we expect rudeness, cruelty, and anti-intellectualism. This would mystify me if I didn’t recognize at least one source for this disappointing position.

For many reasons, I openly blame our current education system for the result of the election and the demise of the American president. To start, I am a critic of education, working within and outside the system to draw attention to its flaws; and therefore, the failings of the system are almost always foremost in my mind. Additionally, I have seen an alarming (deeply alarming, like finding out your child has run away from home alarming) reduction in the value of critical thinking in schools. This reduction runs parallel to an increasing emphasis on retention of information as a measure of “mastery.” I have met more than one college student and college graduate who love teachers who tell them what will be on the test, who ply rubrics to narrow the deviation from the norm, and who lecture, asking very little in the way of participation from students in the suscitation of their own education.

Education today assesses student knowledge based on their ability to repeat back. Questioning, criticizing, looking for wisdom past the usual authority—these are rare activities indeed. Even a class on creative writing—presumably a subject that grows from a student’s own subjectivity—can have rubrics, right and wrong answers, multiple choice tests.

We should want and demand more. This is not what education is meant to be. As John Holt reminds us:
Next to the right to life itself, the most fundamental of all human rights is the right to control our own minds and thoughts. That means the right to decide for ourselves how we will explore the world around us, think about our own and other persons’ experiences, and find and make the meaning of our own lives. (4)

This is the right of agency. It does not give us power over another, but it gives us mastery over ourselves. And an education that does not encourage or facilitate this agency is not an education. An education that convinces us of what needs to be known, what is important versus what is frivolous, is not an education. It’s training at best, conscription at worst. And all it prepares us to do is to believe what we’re told.

American education has worked tirelessly since the time of Skinner to make the American mind into a cipher. And when the American mind became a cipher, the Kardashians became model citizens, and Donald Trump rising up to silence the American presidency became an inevitability.

Change the way you teach."
seanmichaelmorris  agency  power  control  johnholt  paulofreire  choice  criticalthinking  authority  rubrics  creativity  questioning  criticism  education  learning  teaching  howweteach  sfsh  obedience  freedom  community  cooperation  collaboration  checksandbalances  government  donaldtrump  us  relationships  rotelearning  humanism  canon  humanrights  thinking  unschooling  deschooling  cv  belief 
january 2017 by robertogreco
All I Know Is What’s on the Internet — Real Life
"For information literacy to have any relevance, schools and libraries must assume that primary sources and government agencies act in good faith. But the social media prowess of a Donald Trump scuttles CRAAP logic. Not only does Trump disregard information literacy protocols in his own information diet — he famously declared during the campaign, “All I know is what’s on the internet” — but he operates with an entirely different paradigm for making public statements. He speaks as a celebrity, confident in the value of his brand, rather than as a politician or technocrat, making recourse to facts, tactical compromises, or polls.

There is no reason to think that the Trump administration will be a “valid” source in the sense of making truthful, accurate statements. Instead, Trump has backed into Karl Rove’s famous idea of the reality-based community: “We’re an empire now, and when we act, we create our own reality. And while you’re studying that reality — judiciously, as you will — we’ll act again.”

Trump-based reality is now spreading into other government agencies. In late 2016, the House Committee on Science, Space, and Technology used its .gov homepage to question causes of climate change, while the Wisconsin State Department of Natural Resources recently changed reports to claim the subject is a matter of scientific debate.

Benjamin ends “The Work of Art in the Age of Mechanical Reproduction” by arguing that “fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves.” This recasts social media in a more sinister light. Fascism is on the rise not because students can’t tell fake news from the slanted news promulgated by hegemonic interests. Rather, fascism is resurgent because freedom of expression has turned out to have little to do with what we can create and much more to do with how much we can consume.

The promise of social justice and upward mobility through education has largely gone unkept, and many citizens who believed in democratic progress have turned to different promises. Information literacy fails not only because it serves a broken system, but because it is affectively beside the point. Its cerebral pleasure pales in comparison with fascism’s more direct, emotive appeals.

Information today is content, a consumable whose truth value is measured in page views. To combat this, the validation of knowledge must be localized, shared in communities between engaged citizens. Information-literacy rubrics implemented by individuals are insufficient. We must value expertise, but experts must also commit to forging community through shared development. The one-way diffusion of knowledge must be upended.

Information literacy is less a solution than an alibi for the problems ailing education. “Solving” fake news will only compound the real problem. Without substantial work to subvert the traditional and promote the outside, the feel-good efforts of information literacy will not serve America’s promised rebound. Instead they will signify democracy’s dead-cat bounce."

[See also this response: https://twitter.com/holden/status/821904132814442496 ]
schools  libraries  information  informationliteracy  fakenews  internet  education  rolinmoe  2017  democracy  outsiders  content  knowledge  validation  socialjustice  upwardmobility  medialiteracy  literacy  multiliteracies  fascism  donaldtrump  propaganda  crapdetection  criticalthinking  walterbejnamin  consumption  creativity  freedom  engagement  vannevarbush  shielawebber  billjohnson  librarians  community  media  massmedia  hierarchizationknowledge  economy 
january 2017 by robertogreco
first book! | Abler.
"Friends, I’m so happy to say that my first book is under contract with Riverhead/Penguin! I’m just thrilled—I can’t even tell you.

The book is about the unexpected places where disability is at the heart of design, from everyday household objects to architecture, street and city planning, pointing to larger systems design questions at the end. It grows in scale from wearables and products to environments and ecologies, building momentum to ask some compelling and hard questions: Where else might the experience of disability be a site of creativity and invention? And what design opportunities are missed because those experiences are overlooked? I’ll be citing the work of so many scholars I admire, looping together histories—little-known origin stories of everyday things—with more contemporary advances in design for human difference. I’m thinking of it as a kind of travel writing—deeply reported throughout, taking the reader with me to understand the stories of people and cultures behind all our designed objects and environments. I’m deep into it already, and it’s the most excited I’ve ever been about a project.

I’m lucky that Olin College is a place where I could say to my dean: I want to write a book, but I want it to be a trade book for the general reader, and he said immediately—fantastic, do it. I wanted to write a trade book for the same reasons that I’ve written in the mode of journalist before: it matters to me that the radical, complex, and exciting ideas in disability studies reach people outside academia, and that the non-fiction reader see the designed world anew, re-enchanted with the universality of disability in its very fibers and structures. I want the reader to locate all bodies in that built world, regardless of capacity—to see all of us on a human continuum of abilities and needs, holding shared stakes in the designed future. Olin is a college without departments or traditional tenure, so I’m free to pursue this project as my research with the full support of my institution.

This whole web site will look different so soon; I’m working on finishing the three-part site that started with aplusa’s birth. More soon!"
sarahendren  2017  disability  disabilitystudies  continuums  academia  olincollege  diversity  books  writing  audience  everyday  objects  design  creativity  invention  disabilities 
january 2017 by robertogreco
Makeshift: A Field Guide To Hidden Creativity - YouTube
"Makeshift is a field guide to hidden creativity. We believe ingenuity can be found everywhere if you know where to look. Let us tag along on your creative pursuit."

[videos: https://www.youtube.com/channel/UCbkgVbr0uV_FOEzFKNIRkIA/videos ]

[See also: http://mkshft.org/

"Makeshift is a multi-platform media and consulting company dedicated to uncovering hidden creativity around the world. We produce under-the-radar stories of entrepreneurs who use innovation and design to solve problems and improve their local communities. We believe storytelling is a powerful tool for showcasing global change and social impact.

We produce our own media properties through a quarterly print magazine, videos, and other digital content, and our global following continues to grow.

Makeshift partners with corporations, foundations, non-profits, and agencies to build and design custom studios projects that allow our clients to showcase their focus on innovation, entrepreneurship, and social impact around the world."]
jugaad  makeshift  making  creativity  2016  waste  reuse  ingenuity 
january 2017 by robertogreco
A Smuggling Operation: John Berger’s Theory of Art - Los Angeles Review of Books
"EARLY IN HIS CAREER, John Berger’s weekly art criticism for the New Statesman provoked outraged letters and public condemnation. Once, the British Council issued a formal apology to Henry Moore because Berger had suggested his latest work showed a decline. Nor was the hostility limited to such comic passive-aggression. Berger’s politics were deemed so objectionable that his publisher was compelled to withdraw his first novel, A Painter of Our Time (1958), from circulation.

At 90, Berger is harvesting a sudden flowering of praise. It is well deserved. For more than half a century, he has been our greatest art critic — as well as a superior novelist, a poet, and the star and screenwriter of one of the best art documentaries ever made, Ways of Seeing. Most of the writers currently rushing to canonize him, however, avoid dwelling on the heart of Berger’s point of view — his Marxism. No doubt avoiding this disfavored topic makes eulogy easier, but it reminds me of something Berger wrote about Frederick Antal: “the importance of his Marxism tends to be underestimated. In a curious way this is probably done out of respect for him: as though to say ‘He was brilliant despite that — so let’s charitably forget it.’ Yet, in fact, to do this is to deny all that Antal was.” To make such a denial about Berger should no longer be possible after the publication of Landscapes: John Berger on Art.

Landscapes and its companion volume, Portraits: John Berger on Artists (Verso, 2015), are the best summation to date of Berger’s career as a critic. Both volumes were edited by Tom Overton. In Portraits, Overton made selections from decades of essays on the whole historical gamut of art, from the prehistoric cave paintings of Lascaux to the work of 33-year-old Randa Mdah, and organized them chronologically into a history and appraisal of the art of painting. To read it was to be reminded of Berger’s unique virtues: the clarity of his writing, the historical and technical erudition of his insight, and above all his unique focus on each artist’s way of looking. What Landscapes in turn makes clear, through its assemblage of more programmatic pieces — book reviews, manifestos, autobiography — is that Berger is a rigorous thinker with a theory of art. That theory evolved considerably between the 1950s and the 2010s. Yet two threads hold it together with the tenacity of spider silk: a critique of the political economy of art and a sophisticated account of its human value, each rooted in a committed but elastic Marxism.

A Marxist art criticism of any real subtlety has to be elastic, because it must deal with a problem Marx himself diagnosed but failed to solve. Berger puts it like this:
A question which Marx posed but could not answer: If art in the last analysis is a superstructure of an economic base, why does its power to move us endure long after the base has been transformed? Why, asked Marx, do we still look towards Greek art as an ideal? He began to answer the question […] and then broke off the manuscript and was far too occupied ever to return to the question.

Berger takes up the thread where Marx broke off. He is not, of course, the first Marxist to address the question of art, and he is familiar with most of those who tried before him, sorting through and furthering their legacy.

The most famous of Berger’s influences, Walter Benjamin, wrote the essay “Art in the Age of Mechanical Reproduction,” from which came most of the ideas in Berger’s documentary, Ways of Seeing. But Landscapes reveals that his most important influence as a practicing art critic was Max Raphael.

Raphael, an undeservedly obscure theorist, located the value of art in the activity of the artist. According to him, an artist performs two operations. On the one hand, the artist turns raw material into artistic material by shaping it to represent an idea or an object; this is true both of Michelangelo shaping a block of marble into David and of Jackson Pollock embodying the rhythms of jazz in drip paintings. On the other, the artist turns his perception into something external and objective, a representation. The work of art is the result of these two transformations, of raw stuff and of subjective perception into an art object. For Raphael, the point of art is these two transformations: they are the artist’s way of “undoing the world of things” and constructing “the world of values.”

So Raphael’s answer to Marx’s problem — why is art enduringly moving even though it merely reflects its social context? — is to say that art doesn’t merely reflect its social context. It does reflect it, because the artist’s material, style, the things they want to represent, even the way they see, are historically conditioned; but it doesn’t merely reflect it, because the transformed material speaks of something deeper and more voluntary. It speaks of humanity’s ability to make its own world, to become the subject and not merely the victim of history. “The function of the work of art,” Berger sums up Raphael, “is to lead us from the work to the process of creation which it contains.”

Anyone familiar with Berger’s own writing will sit up with a shock of recognition. Here is a theory of art directly correlated to his practice of criticism. Berger takes art out of the sanitizing temples where we store it and drops it firmly back onto the easel, in a messy studio, where a sweaty artist bites her lip and stores her way of looking in an object. Over and over again, he asks us to imagine the artist at work. Many have attributed this to his own training as a painter, which might have inspired his fascination with technique, as I, an amateur pianist, am fascinated by the technique of my favorite recording artists. But I think his admiring discussion of Raphael suggests a much deeper reason. If Berger believes that the most important meaning of art is what it shows us of our ability to create the world we want, it turns out that his criticism is connected to his Marxism much more fundamentally than through the borrowing of a few insights from Walter Benjamin.

For Berger, art criticism is a revolutionary practice. It prepares the ground for a new society. In Landscapes, Overton includes a translation by Berger and Anya Rostock of a poem by Bertolt Brecht. It includes this passage:
Yet how to begin? How to show
The living together of men
That it may be understood
And become a world that can be mastered?
How to reveal not only yourselves and others
Floundering in the net
But also make clear how the net of fate
Is knotted and cast,
Cast and knotted by men?
[…] only he who knows that the fate of man is man
Can see his fellow men keenly with accuracy.

How to begin? Berger answers: In art. There we find proof and prophecy of a different world. In another essay, he writes:
We can no longer “use” most paintings today as they were intended to be used: for religious worship, for celebrating the wealth of the wealthy, for immediate political enlightenment, for proving the romantic sublime, and so on. Nevertheless, painting is especially well suited to developing the very faculty of understanding which has rendered its earlier uses obsolete: that is to say, to developing our historical and evolutionary self-consciousness.

This is the promise, the positive function of art. By looking at it, we are, in effect, looking through an artist’s eyes, entering into a concretized instance of their gaze. We are looking at a looking. And from within an artist’s looking, we learn about the capacities of our kind and the possibilities of our future: “A classical Greek sculpture increases our awareness of our own potential physical dignity; a Rembrandt of our potential moral courage; a Matisse of our potential sensual awareness.”

At the same time, Berger is of the opinion that the modern history of art is a history of failure. He won’t compromise on this point, and it is undoubtedly the reason for the stiff resistance that he has often met.

In modern times, Berger believes, the art world has hosted a titanic battle between two conceptions of art. One conception declares that art is valuable because it bodies forth the vision of an artist; it is a good in itself just to the degree that it succeeds at this task. This is Berger’s conception, and it is large enough to embrace all the varying and contradictory proclamations and provocations of the successive factions of modern art. The other conception declares that art is valuable because it is expensive — that, fundamentally, art is property:
Since 1848 every artist unready to be a mere paid entertainer has tried to resist the bourgeoisation of his finished work, the transformation of the spiritual value of his work into property value. This regardless of his political opinions as such. […] What Constructivism, Dadaism, Surrealism, and so on, all shared was their opposition to art-as-property and art-as-a-cultural-alibi-for-existing-society. We know the extremes to which they went […] and we see that their resistance was […] ineffective.

In other words, artists, like all other workers, are victims of a capitalism that alienates them from the fruit of their labor. Berger has nothing but scorn for the commercialization of art: “If you could fuck works of art as well as buy them,” he writes, dealers “would be pimps: but, if that were the case, one might assume a kind of love; as it is they dream of money and honour.” Everything about the modern art world is constructed on the assumption that art is precious in proportion to its price. Even among those who profess a genuine love of art, that passion is often tainted by its ideological function:
A love of art has been a useful concept to the European ruling classes for over a century and a half. The love was said to be their own. With it they could claim kinship with the civilisations of … [more]
johnberger  2017  robertminto  marxism  art  artists  artcriticism  criticism  henrymoore  politics  waysofseeing  frederickantal  tomoverton  economics  walterbenjamin  raphael  jacksonpollock  michelangelo  elitism  anyarostock  bertoltbrecht  process  craftsmanship  arthistory  resistance  constuctivism  dadaism  surrealism  property  society  culture  ownership  beauty  aesthetics  museums  artappreciation  creativity  creation  praxis  canon  objects  mystique  products  action  achievement  making  wealth  ideology  consumerism  consumption 
january 2017 by robertogreco
How America's 'Culture of Hustling' Is Dark and Empty - The Atlantic
"Q: You write about the "unnecessary," "wasteful," and "stupid" routines, obsessions, and goals that you once pursued and that most of American culture preaches as the means of accessing the good life—careers, professional ambition, the drive for prestige, etc. You have left that behind for a peaceful "retirement" in Mexico, but during your retirement, you've written five books. How do you differentiate between pointless hustling and meaningful work? You write that more people should "let the universe do its thing." How do we do that and strive for work that gives our lives a sense of purpose and source of meaning? 

A: The tipoff for me is somatic. Whenever a project comes to me, one that is right, that is genuine, I feel a kind of “shiver” in my body, and that tells me that it corresponds to something very deep in me, and that I need to pursue it. That has been my guide with literally every book I wrote. Trusting this kind of visceral reaction means that you are willing to let life “come and get you.” It means who you are is defined from the inside, not the outside. In terms of what’s really important, we don’t have much choice, and that’s as it should be. The decision is made by a larger energy or unconscious process, and when it’s right, you know it.

Most Americans have a dull sense that their lives are fundamentally “off”—because for the most part, they are. They hate their lives, but to get through the day, besides taking Prozac and consulting their cell phone every two minutes, they talk themselves into believing that they want to be doing what they are doing. This is probably the major source of illness in our culture, whether physical or mental.

In the film Definitely, Maybe, Ryan Reynolds works for an ad agency and says to himself at one point that he never imagined he’d be spending his days trying to convince people to buy Cap’n Crunch for their kids instead of Fruit Loops. As far as striving goes, Goethe wrote: “Man errs as long as he strives.” Sit still, meditate, just let the answer arise from the body. (It may take a while.)

Q: So much of American culture is results obsessed. You write in your book about appreciating pleasures as they come, whether they are sexual, intellectual, or emotional. Do you think much of happiness is about learning to appreciate pleasure in the moment and not attaching it some tangibly measurable result?

A: It took me a long time to understand that I, or, my ego, had no idea what was best for me. Some part of happiness undoubtedly derives from a Zen enjoyment of whatever is in front of you, but a big part of it is knowing who you are and being that person. This is ontological knowing, and it’s very different from intellectual knowing.

Q: Your message of detachment from materially measurable pursuits and your encouragement of leisure, creativity, and relaxed living is un-American (I mean this as a compliment). Why is American culture so addicted to speed, movement, action, and "progress"?

A: This is, in some ways, the subject of my book Why America Failed. America is essentially about hustling, and that goes back more than 400 years. It’s practically genetic, in the U.S., by now; the programming is so deep, and so much out of conscious awareness, that very few Americans can break free of it. They’re really sleepwalking through life, living out a narrative that is not of their own making, while thinking they are in the driver’s seat.

It’s also especially hard to break free of that mesmerization when everyone else is similarly hypnotized. Groupthink is enormously powerful. Even if it occurs to you to stop following the herd, it seems crazy or terrifying to attempt it. This is Sartre’s “bad faith,” the phenomenon whereby a human being adopts false values because of social pressure, and is thus living a charade, an inauthentic life. It’s also what happens to Ivan Illych in the Tolstoy story, where Ivan is dying, and reviews his life during his last three days, and concludes that it was all a waste, because he lived only for social approval."

[See also: http://tumblr.austinkleon.com/post/154822488046 ]
culture  hustling  via:austinkleon  morrisberman  work  hustle  society  productivity  ambition  careers  prestige  motivation  us  howwework  slow  retirement  2013  davidmasciotra  results  stress  pleasure  leisurearts  artleisure  knowing  creativity  life  living  consumption  materialism  authenticity  socialpressure  meaning  meaningmaking 
december 2016 by robertogreco
Austin Kleon — Morris Berman, Why America Failed: The Roots of...
"Picked this up off a tip from @mattthomas​ — it’s a “post-mortem” of our nation, the third in a trilogy about the Decline of the American Empire (part one is The Twilight of American Culture, which I’m reading now, and part two is Dark Ages America). It’s a bleak portrait, one which I’m not sure a lot of people want to read about around the holidays, but for some perverse reason, I found it very enjoyable and oddly comforting — in the first book, Berman says “I’ll do my best not to entertain you,” but he fails.

The big idea here is that the dominate mode of America is a kind of “technohustling”—America is a “hustling” culture (“American English contains more than two hundred nouns and verbs referring to a swindle”) that believes in endless technological progress (“technology is not neutral”) and it’s left us with a hollowed-out nation —economically, spiritually, emotionally — in which a few have much and many have very little.

Berman points to a long “anti-hustler” tradition of people such as the Transcendentalists, Herman Melville (he sees Moby-Dick as maybe the greatest book about America), and Lewis Mumford, that culminates with Jimmy Carter’s “Crisis of Confidence” speech he delivered in 1979, which Berman regards as the tradition’s “last stand.” Here’s Carter:
In a nation that was proud of hard work, strong families, close-knit communities, and our faith in God, too many of us now tend to worship self-indulgence and consumption. Human identity is no longer defined by what one does, but by what one owns. But we’ve discovered that owning things and consuming things does not satisfy our longing for meaning. We’ve learned that piling up material goods cannot fill the emptiness of lives which have no confidence or purpose.

Berman sees very little that the individual can do to escape the “American Nightmare,” other than flee (he went to Mexico) or pursue what he calls the “monastic option” (which he explores in detail in the first book): “resisting the dominant culture and trying to do something meaningful with your life as opposed to living the mass dream.”

Made up a good reading list of books I’ve wanted to check out for a while:

• Alexis de Tocqueville, Democracy in America
• A General Theory of Love
• Barbara Ehrenreich, Bright-sided: How Positive Thinking Is Undermining America
• E.F. Schumacher, Small Is Beautiful: Economics as if People Mattered
• Lewis Mumford, Technics and Civilization"

[See also: "How America's 'Culture of Hustling' Is Dark and Empty: Results-obsessed perspectives overlook meaning — and leave little room for creativity, pleasure, or accepting the importance of sadness."
https://www.theatlantic.com/health/archive/2013/08/how-americas-culture-of-hustling-is-dark-and-empty/278601/ ]
morrisberman  consumerism  jimmycarter  austinkleon  2016  2014  toread  hustle  hustling  hermanmelville  moby-dick  transcendentalism  us  culture  society  self-indulgence  consumption  materialism  technohustling  monasticism  cv  efschumacher  leismumford  barbaraehrenreich  toqueville  meaning  meaningmaking  sadness  emptiness  results  creativity  pleasure  leisurearts  artleisure  mobydick 
december 2016 by robertogreco
Tomorrow Looks Bright
"Tomorrow Looks Bright is a weekly newsletter that curates high quality impactful projects and products from around the internet with the intent to showcase the bountiful creative energy of Black women creators. The idea of designer, Kristy Tillman, Tomorrow Looks Bright Weekly provides the combinatorial link to learn about all of the amazing things Black women are doing and creating that remains scattered across the web. The core ethos behind this project is to galvanize our collective (and those who wish to advance us) around a common creative force to provide support and awareness to sustain our ventures.

Some example projects and products include: podcasts, comics, wearables, documentaries, t-shirts, books, webisodes, an album, a website launch, a Youtube channel. We focus on discrete creative projects and products."
creativity  newsletters  blackwomen  woc 
december 2016 by robertogreco
Arianna Huffington on a Book About Working Less, Resting More - The New York Times
"We hear a lot about the many things that are disrupting the American workplace: the decline of manufacturing, demographics, globalization, automation and, especially, technology. And it’s true — all of those are roiling the world of work, not just in America but worldwide.

But there’s another force transforming the way we work, and that is: nonwork. Or, more specifically, what we’re doing in those few hours when we’re not working. With “Rest: Why You Get More Done When You Work Less,” Alex Soojung-Kim Pang superbly illuminates this phenomenon and helps push it along.

What’s being disrupted is our collective delusion that burnout is simply the price we must pay for success. It’s a myth that, as Pang notes, goes back to the Industrial Revolution. That’s when the Cartesian notion of home and work as separate — and opposing — spheres took hold. Home, Pang writes, was “the place where a man could relax and recover from work.” When there was time, that is. Because soon leisure time and nighttime became commodities to monetize. Over the next decades, starting with demands from labor reformers, work hours were pushed back, mostly for safety reasons. But even today, the conversation focuses on “work-life balance,” which implicitly accepts the notion of work and life as Manichaean opposites — perpetually in conflict.

That’s why “Rest” is such a valuable book. If work is our national religion, Pang is the philosopher reintegrating our bifurcated selves. As he adeptly shows, not only are work and rest not in opposition, they’re inextricably bound, each enhancing the other. “Work and rest aren’t opposites like black and white or good and evil,” Pang writes. “They’re more like different points on life’s wave.”

Continue reading the main story
His central thesis is that rest not only makes us more productive and more creative, but also makes our lives “richer and more fulfilling.” But not all rest is created equal — it’s not just about not-working. The most productive kind of rest, according to Pang, is also active and deliberate. And as such, that means rest is a skill. “Rest turns out to be like sex or singing or running,” Pang writes. “Everyone basically knows how to do it, but with a little work and understanding, you can learn to do it a lot better.” Though he’s obviously never heard me sing, I take his point.

And he illustrates it well, showing how the secret behind many of history’s most creative authors, scientists, thinkers and politicians was that they were very serious and disciplined about rest. “Creativity doesn’t drive the work; the work drives creativity,” Pang writes. “A routine creates a landing place for the muse.”

And as Pang notes, modern science has now validated what the ancients knew: Work “provided the means to live,” while rest “gave meaning to life.” Thousands of years later, we have the science to prove it. “In the last couple decades,” he writes, “discoveries in sleep research, psychology, neuroscience, organizational behavior, sports medicine, sociology and other fields have given us a wealth of insight into the unsung but critical role that rest plays in strengthening the brain, enhancing learning, enabling inspiration, and making innovation sustainable.”

We can’t declare victory quite yet. To experience the kind of rest that fuels creativity and productivity, we need to detach from work. But in our technology-obsessed reality, we carry our entire work world with us wherever we go, right in our pockets. It’s not enough to leave the office, when the office goes to dinner or to a game or home with you. And it’s not enough just to put our devices on vibrate or refrain from checking them. As Sherry Turkle noted in her book “Reclaiming Conversation,” the mere presence of a smartphone or device, even when not being used, alters our inner world. So achieving the kind of detachment we need for productive rest can’t really be done without detaching physically from our devices.

And even though the science has come in, still standing in the way is our ingrained workplace culture that valorizes burnout. “With a few notable exceptions,” Pang writes, “today’s leaders treat stress and overwork as a badge of honor, brag about how little they sleep and how few vacation days they take, and have their reputations as workaholics carefully tended by publicists and corporate P.R. firms.”

Turning that around will require a lot of work. And rest. The path of least resistance — accepting the habits of our current busyness culture and the technology that envelops us and keeps us perpetually connected — won’t make us more productive or more fulfilled. Instead of searching life hacks to make us more efficient and creative, we can avail ourselves of the life hack that’s been around as long as we have: rest. But we have to be as deliberate about it as we are about work. “Rest is not something that the world gives us,” Pang writes. “It’s never been a gift. It’s never been something you do when you’ve finished everything else. If you want rest, you have to take it. You have to resist the lure of busyness, make time for rest, take it seriously, and protect it from a world that is intent on stealing it.”

And you can start by putting down your phone — better yet, put it in another room — and picking up this much-needed book."
alexsoojung-kimpang  ariannahuffington  work  rest  creativity  2016  books  burnout  labor  sleep  workaholism  conservation  sherryturkle  productivity  detachment  neuroscience  psychology  sociology  routine  inspiration  innovation  lifehacks  efficiency 
december 2016 by robertogreco
Learning Gardens
[See also: https://www.are.na/blog/case%20study/2016/11/16/learning-gardens.html
https://www.are.na/edouard-u/learning-gardens ]

"Learning Gardens is a meta-organization to support grassroots non-institutional learning, exploration, and community-building.

At its simplest, this means we want to help you start and run your own learning group.

At its best, we hope you and your friends achieve nirvana."



"Our Mission

It's difficult to carve out time for focused study. We support learning groups in any discipline to overcome this inertia and build their own lessons, community, and learning styles.
If we succeed in our mission, participating groups should feel empowered and free of institutional shackles.

Community-based learning — free, with friends, using public resources — is simply a more sustainable and distributed form of learning for the 21st century. Peer-oriented and interest-driven study often fosters the best learning anyway.

Learning Gardens is an internet-native organization. As such, we seek to embrace transparency, decentralization, and multiple access points."



"Joining

Joining us largely means joining our slack. Say hello!

If you own or participate in your own learning group, we additionally encourage you to message us for further information.

Organization

We try to use tools that are free, open, and relatively transparent.

Slack to communicate and chat.
Github and Google Drive to build public learning resources.

You're welcome to join and assemble with us on Are.na, which we use to find and collect research materials. In a way, Learning Gardens was born from this network.

We also use Notion and Dropbox internally."



"Our lovely learning groups:

Mondays [http://mondays.nyc/ ]
Mondays is a casual discussion group for creative thinkers from all disciplines. Its simple aim is to encourage knowledge-sharing and self-learning by providing a space for the commingling of ideas, for reflective conversations that might otherwise not be had.

Pixel Lab [http://morgane.com/pixel-lab ]
A community of indie game devs and weird web artists — we're here to learn from each other and provide feedback and support for our digital side projects.

Emulating Intelligence [https://github.com/learning-gardens/_emulating_intelligence ]
EI is a learning group organized around the design, implementation, and implications of artificial intelligence as it is increasingly deployed throughout our lives. We'll weave together the theoretical, the practical, and the social aspects of the field and link it up to current events, anxieties, and discussions. To tie it all together, we'll experiment with tools for integrating AI into our own processes and practices.

Cybernetics Club [https://github.com/learning-gardens/cybernetics-club ]
Cybernetics Club is a learning group organized around the legacy of cybernetics and all the fields it has touched. What is the relevance of cybernetics today? Can it provide us the tools to make sense of the world today? Better yet, can it give us a direction for improving things?

Pedagogy Play Lab [http://ryancan.build/pedagogy-play-lab/ ]
A reading club about play, pedagogy, and learning meeting biweekly starting soon in Williamsburg, Brooklyn.

[http://millennialfocusgroup.info/ ]
monthly irl discussion. 4 reading, collaborating, presenting, critiquing, and hanging vaguely identity-oriented, creatively-inclined, internet-aware, structurally-experimental networked thinking <<<>>> intersectional thinking

Utopia School [http://www.utopiaschool.org/ ]
Utopia School is an ongoing project that shares information about both failed and successful utopian projects and work towards new ones. For us, utopias are those spaces and initiatives that re-imagine the world in some crucial way. The school engages and connects people through urgent conversations, with the goal of exploring, archiving and distributing collective knowledge throughout this multi-city project.

A Pattern Language [https://github.com/learning-gardens/pattern_language ]
Biweekly reading group on A Pattern Language, attempting to reinterpret the book for the current-day."

[See also: "Getting Started with Learning Gardens: An introduction of sorts"
http://learning-gardens.co/2016/08/13/getting_started.html

"Hi, welcome to this place.

If you’re reading this, you’re probably wondering where to start! Try sifting through some links on our site, especially our resources, Github Organization, and Google Drive.

If you’re tired of reading docs and this website in general, we’d highly recommend you join our lively community in real time chat. We’re using Slack for this. It’s great.

When you enter the chat, you’ll be dumped in a channel called #_landing_pad. This channel is muted by default so that any channels you join feel fully voluntary.

We’ve recently started a system where we append any ”Learning Gardens”-related channels with an underscore (_), so it’s easy to tell which channels are meta (e.g. #_help), and which are related to actual learning groups (e.g. #cybernetics).

Everything is up for revision." ]
education  learninggardens  learningnetworks  networks  slack  aldgdp  artschools  learning  howwlearn  sfsh  self-directed  self-directedlearning  empowerment  unschooling  deschooling  decentralization  transparency  accessibility  bookclubs  readinggroups  utopiaschool  apatternlanguage  christopheralexander  pedagogy  pedagogyplaylab  cyberneticsclub  emulatingintelligence  pixellab  games  gaming  videogames  mondays  creativity  multidisciplinary  crossdisciplinary  interdisciplinary  ai  artificialintelligence  distributed  online  web  socialmedia  édouardurcades  artschool 
december 2016 by robertogreco
Pauline Oliveros, pioneering avant-garde composer, RIP / Boing Boing
“In hearing, the ears take in all the sound waves and particles and deliver them to the audio cortex where the listening takes place," Oliveros once said. "We cannot turn off our ears–the ears are always taking in sound information–but we can turn off our listening. I feel that listening is the basis of creativity and culture. How you’re listening, is how you develop a culture and how a community of people listens, is what creates their culture.”

[via: http://roomthily.tumblr.com/post/153704843462/how-youre-listening-is-how-you-develop-a-culture ]

[See also: http://www.factmag.com/2016/11/25/pauline-oliveros-dies-deep-listening-composer/ ]
paulineoliveros  listening  deeplistening  culture  community  creativity  culturecreation  sfsh  communities  2016  hearning  sound 
november 2016 by robertogreco
Hack Circus by Leila Johnston on iTunes
[also here: http://directory.libsyn.com/shows/view/id/hackcircus
https://www.ivoox.com/en/podcast-hack-circus_sq_f1209333_1.html ]

"Hack Circus is a weekly podcast analysing the art and craft of creativity. hackcircuspodcast.com This podcast goes behind the scenes with individuals who lead extraordinary creative lives. Whether you're a professional creative or just looking for inspiration from highly creative minds, you should enjoy the insights of the guests on our show each week. If you enjoy the show, please give it a rating and/or a review, and don't forget to subscribe! The show is hosted by artist, writer and publisher Leila Johnston. Find out more about her on her website finalbullet.com "
hackcircus  podcasts  creativity  leilajohnston 
november 2016 by robertogreco
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