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robertogreco : ideals   12

Female Artists Give Advice to Women in Art World
"6. Nyeema Morgan

My first thought is what would I tell myself if I had to start from the beginning of my career. There is so much to be said, so many caveats. I think in this cultural moment one of the greatest detriments to a young artist’s creative practice is conformity. The desire to be desired, to be ‘liked’, for every utterance to be acknowledged and lauded.

It would be too easy and expected to accept the rewards of self-exploitation. Resist. Contrary to popular belief it is not an enriching practice of feminist empowerment. Instead, cultivate a critical mind. Always ask questions of yourself, your work and the world around you. Learn to embrace challenge and avoid settling into a way of working that is too comfortable. This doesn’t mean your should live in a place of agony.

Do not torture yourself, but find the joy in what you are making, dismantling, and discovering."



"10. Adrian Piper

First, you should be clear about what you are aiming for: (1) public approval, (2) commercial success, or (3) art-historical significance. These three are not necessarily mutually exclusive, and there is nothing wrong with any of them. But my remarks address only (3).

The best means to art-historical significance is financial independence. Don’t even think about trying to earn a living from your artwork, or else you’ll start producing the artwork that will earn you a living. A trust fund will divert your energies in a different way. The best means to financial independence is a day job in a different field. Waiting tables, driving a cab, office work, and teaching are traditional alternatives for artists, but the digital revolution opens up many others. All of them will free you to make the work you are most deeply driven to make, regardless of whether or not anyone else likes it or buys it. That’s the work that’s most interesting and important to you. You won’t have time to waste on producing work that doesn’t obsess you.

Your day job will also free you to be selective about what you do in order to promote your artwork, and with whom. It will protect your pursuit of quality. That’s one reliable path to art-historical significance (although of course not the only one)."
art  artists  money  adrianpiper  purpose  glvo  cv  freedom  fundding  compromise  ideals  values  nyeemamorgan 
july 2016 by robertogreco
guiding principles for an adaptive technology working group | Abler.
"I’ve been thinking about the studio/lab/workshop environment I want to foster at Olin. So herewith a manifesto, or a set of guiding principles, for young engineers and designers working critically, reflexively, in technology design and disability.

1. We use the terms “adaptive” and “assistive” technologies interchangeably when speaking casually or with newcomers to this field, but we use the terms of adaptation as often as possible. Why? Assistance usually implies linearity. A problem needs fixing, seeks a solution. But adaptation is flexible, rhizomatic, multi-directional. It implies a technological design that works in tandem, reciprocally, with the magnificence that is the human body in all its forms. Adaptation implies change over time. Adaptive systems might require the environment to shift, rather than the body. In short, we believe that all technology is assistive technology—and so we speak in terms of adaptation.

2. We presume competence. This exhortation is a central one in disability rights circles, and we proceed with it in mind as we work with our design partners. We don’t claim our end-users are “suffering from” their conditions—unless they tell us they are. We speak directly to users themselves, not to caregivers or companions—unless we’re directed to do so. We speak the way we’d speak to anyone, even if our partners don’t use verbal language in return—until they request we do otherwise. We take a capabilities approach.

3. We are significantly public-facing in our disposition. Doing open and public research—including in the early stages—is central to our conviction that design for disability carries with it enormous political and cultural stakes. We research transparently, and we cultivate multiple and unusual publics for the work.

4. We spend some of our time making things, and some of our time making things happen.¹ A lot of our effort is embodied in the design and prototyping process. But another significant portion of that effort is directed toward good narrative writing, documentation, event-wrangling, and networked practices. Design can be about a better mousetrap; it can also be—and indeed more often should be—a social practice.

5. We actively seek a condition of orchestrated adjacencies: in topics, scales, and methods. Some of our projects attempt to influence industry: better designs, full stop. And some of our projects address issues of culture: symbolic, expressive, and playful work that investigates normalcy and functionality. We want high-tech work right up alongside low-tech work. Cardboard at one end, and circuits and Arduino at the other. Materially and symbolically, adjacencies in real time create unusual resonances between and among projects. They expand the acceptable questions and categories of what counts as research. They force big-picture ideas to cohere with granular problem-solving.

6. We presume, always, that technology is never neutral. And accordingly, we seek to create tools for conviviality, in the sense that Ivan Illich laid out in his book of the same name. Tools that are “accessible, flexible, noncoercive.” We won’t be perfect at it, but we won’t shy away from hard questions: What will it cost? What might be unintended consequences? What have we overlooked?

Like life, this version is subject to change. More on the studio/lab/workshop in this earlier post.

1. “I went from making things, to making things happen.” That’s artist Jeremy Deller on how his art practice went from objects to conditions and situations."
art  design  making  sarahendren  2014  assistivetechnology  adaptivetechnology  olincollege  manifestos  rhizomes  adaptation  human  humans  bodies  criticaldesign  conviviality  ivanilllich  normalcy  functionality  orchestratedadjacencies  hitech  lowtech  agency  makers  socialpractice  transparency  questionasking  askingquestions  jeremydeller  studios  lcproject  openstudioproject  howwework  ethics  ideals  disability  disabilities  differences  time  change  conversation  principles  adaptive  body  low-tech 
august 2014 by robertogreco
Chokwe Lumumba: Remembering "America’s Most Revolutionary Mayor" | Democracy Now!
"AMY GOODMAN: That was Jamie Scott and, before that, Gladys Scott, released from jail after 16 years in prison for an $11 robbery. Standing next to them was Chokwe Lumumba, their attorney at the time, now mayor—well, until yesterday. His sudden death is why we’re talking about him today, though we interviewed him the day after he was elected. Also standing there was Ben Jealous, former president and CEO of the NAACP, who recently wrote a piece for The Huffington Post called "Remembering Chokwe Lumumba." Remember him for us, Ben.

BENJAMIN JEALOUS: Sure. Well, you know, that was the fourth or fifth time we had stood next to people that we had worked together to free from prison over the last 20 years. And that was what was so remarkable about Chokwe. I mean, he was a man who was, you know, a true man, if you will. He was active in his church. He had a great marriage to his wife. He had two wonderful kids that he poured all of his love into. He was a well-respected coach. He was an incredible lawyer.

And he chose his—and he also was, you know, somebody with very strong ideals. And he chose to live and practice those ideals on the ground in one of the poorest places in our country. And he brought all of those things with him into the courtroom—all the compassion, all the insight, all his skill as a lawyer—on behalf of the poorest people in the state. And that’s ultimately why Bill and Derrick Johnson, the president of the NAACP in Mississippi, and so many others, they say he was drafted to run for mayor, because everybody had basically fallen in love—let me put it this way: An overwhelming majority of Jackson—I won’t say everybody, because there were definitely some people who were on the other side—but an overwhelming majority of Jackson, black and white, had fallen in love with Chokwe over the years that he had lived in town, because he was just such a good person. And you knew in your heart, when you live in Jackson, that the toughest thing in Mississippi to be is to be poor and black and in court without good counsel. And he would, at oftentimes risk to his own financial stability, defend anyone who he thought he could help, who he thought needed help, and, most importantly, who he was convinced that nobody else would help.

AMY GOODMAN: I want to go back to our interview with Chokwe Lumumba on Democracy Now! the day after he was elected. We talked to him June 6th. I asked him about the FBI’s decision last year to place his former client, Assata Shakur, on the Most Wanted Terrorists list. But before we play that clip, I wanted to ask you, Ben, about the media coverage, both of Chokwe Lumumba, his election, and the significance of the man who some who called the most revolutionary mayor in America—the lack of the coverage. Last night, I was watching the networks, and I opened The New York Times today, the actual paper edition, and I didn’t see a reference. Last night watching MSNBC for hours, now, I didn’t watch every single second, so I might have missed something, but I did not see a reference. As Bill Chandler said, he died late yesterday afternoon.

BENJAMIN JEALOUS: Yeah. So, you know, I know that I saw something in the Times this morning online.

AMY GOODMAN: Online, yes.

BENJAMIN JEALOUS: Yeah, I mean, Chokwe—I mean, look, Chokwe is somebody who you have to give this much time to really talk about. This is a man who lived, if you will, sort of multiple journeys in his life and who was quixotic to people because, on the one hand, you could easily stereotype him as being some sort of radical—he would say he was a radical, because he didn’t see that as being a bad thing. You know, he was somebody who thought that, frankly, having ideals and practicing them in this country full of so much hypocrisy was a radical thing. But he was also somebody who was an extremely committed mayor, very good at working across the aisle, even in his short tenure, with people in the business community, in the most conservative corners of the city, if you will. And he was somebody who at the end of the day, yes, stood up for black people, but was ultimately committed to fairness for everyone in our country.

And so, you know, for, I think, many in the media who sort of deal in sound bites, there’s just too much there to quickly understand in 30 seconds, and so they move on. But he’s ultimately the type of person that we need to understand better in our country, because our country ultimate is greatest, if you will, because of the contributions of idealists over the years who, yes, may have staked a far-out position at times in their lives, but ultimately served to pull our country closer to its own closely held ideals of fairness and equality and justice and the universal dignity of all humanity."
chokwelumumba  socialjustice  leadership  2014  obituaries  ideals  idealism  praxis  government  policy  politics  law  jackson  alabama  benjaminjealous  amygoodman  akinyeleumoja  kwamekenyatta  fairness  equality  civilrights  justice  us  chokweantarlumumba 
february 2014 by robertogreco
Alex Payne — Letter To A Young Programmer Considering A Startup
"But startups are the new big company. They are, as I’ll describe below, the field offices of a large distributed workforce assembled by venture capitalists and their associate institutions."



I won’t equivocate: I am deeply skeptical of this system. I’m skeptical of this system’s slavering, self-congratulatory fetishization of “disruption” while so obviously becoming the sort of stolid institution it seeks to displace. I’m skeptical of the startup community’s often short-term outlook. I’m particularly skeptical of its callous disregard for both the lives of the people who participate in it and the lives of those who live in the world that startups seek to reshape. Let’s not even begin to discuss how commonplace collusion, price fixing, and other market-corrupting activities are in the world of VC. The point being: it’s a bad game and a rigged one.

And yet. There are startups I wouldn’t want to see disappear. There are people working at and funding those startups who are good, kind, balanced in their personal and professional lives, thoughtful of the impact of their work. Just as we might cast aspersions and accusations of corruption on other systems like politics, mass media entertainment, and professional sports, we must admire those who operate ethically and efficiently within them. We should further celebrate those who are pioneering new and alternative systems, for they work in the shadow of a community that has a constant hand on the crank of the hype machine.

Now, you could say that I’m laying too much responsibility at the feet of the startup world. Though this system daily broadcasts itself as the savior of everything from capitalism to culture, surely we can accept that business is business and ideals are best left at the door. As a VC at a top-tier Sand Hill Road firm told me during a pitch several years ago when describing a conceptual feature in Simple that would let users easily and regularly donate a portion of their savings to charity, “let’s not waste time on that stuff; we’re here to make money”.

You could take this tack, but I hope that your idealism hasn’t been worn down at such a relatively young age. I hope you want your work to be imbued with meaning, purpose, and value no matter what form that work takes. More than that, I hope you want your life to be defined by more than work.

Young programmer, I urge you to consider both sides of the startup coin. There are so many ways to make a dent in the world."
vc  alexpayne  change  idealism  ideals  2013  systems  responsibility  startups  labor  disruption  meaning  meaningfulness  vocations  collusion  pricefixing  corruption  finance  power  control  hierarchy  purpose  bureaucracy  incubators  accelerators 
june 2013 by robertogreco
Maverick Colleges: Ten Noble Experiments in American Undergraduate Education (1993)
[Second edition (1996) of the book with some additional schools here in PDF: https://ocw.mit.edu/courses/experimental-study-group/es-291-learning-seminar-experiments-in-education-spring-2003/readings/MITES_291S03_maverick.pdf ]

[Wayback:
http://web.archive.org/web/20130730023648/http://www.mit.edu/~jrising/webres/maverick.txt
https://web.archive.org/web/19961105162647/http://www.gse.utah.edu/EdAdm/Galvin/Maverick.html ]

"This book is a product of a University of Utah graduate seminar conducted in the spring of 1991: "Notable Experiments in American Higher Education" (Educational Administration 728). The contributing authors are professor of educational administration L. Jackson Newell and seminar students, each of whom selected an innovative, or "experimental," college for research and reporting."

"Common Themes:

As seminar participants exchanged findings about the ten selected colleges, several prominent themes emerged that had not been predetermined by selection criteria but appeared to indicate common postures among experimental colleges. These include:

• Ideals spawning ideas. In most cases, the ten colleges appeared to start with the ideals of visionary founders. For some, the ideal concerned the citizens who would emerge from the learning experience …

• Emphasis on teaching; retreat from research. The vast majority of experimental colleges are liberal education colleges where the art of teaching and the development of students are values of high esteem. …

• Organization without specialization. Not unexpectedly, these experimental colleges also tended to turn away from the disciplinary organization of scholarship that had sprung from the German research university model. …

• Administrative innovations. Freedom from traditional higher education bureaucracy and hierarchy have been common pursuits of the colleges studied. …

Divergent Approaches:

Just as common themes instruct us about the aims and aspirations of various experimental colleges, so too do their divergent approaches. Two notable areas of difference among the colleges focus on who should attend and how their learning might best be organized during the college years."

[Bits from the section on Black Mountain College:]

"Its educational commitment--to democratic underpinnings for learning that comes from "human contact, through a fusion of mind and emotion" (Du Plessix-Gray 1952:10)-- was reflective of a larger liberal environment that managed a brief appearance before the 1950s ushered in fear of Communism and love of television."



"Rice and his colleagues had stronger convictions about how a college should operate than about how and what students might learn. Democracy would be paramount in the administration of the college, and structure would be loose. Students and faculty joined in marathon, long-winded decision-making meetings with decisions ranging from a faculty termination to a library acquisition.

Particularly prominent, and vital to the democratic underpinnings envisioned by Rice, was the absence of any outside governing body. Rice had determined that control exerted by boards of trustees and college presidents rendered faculty participation meaningless, limiting faculty to debate, "with pitiable passion, the questions of hours, credits, cuts. . . . They bring the full force of their manhood to bear on trivialities. They know within themselves that they can roam at will only among minutiae of no importance" (Adamic, 1938:624).

The faculty did establish a three-member "Board of Fellows," elected from among them and charged with running the business affairs of the College. Within a year, a student member was added to the Board."



"The 23-year history of Black Mountain College was one of few constants and much conflict. Three forceful leaders marked three distinct periods during the 23 years: the John Rice years, the Josef Albers decade, and the Charles Olson era.

During the first 5 years of the College, a solidarity of philosophy and community gradually took shape. It revolved largely around John Rice's outgoing personality (much intelligence and much laughter mark most reports from colleagues and students) and forceful opinions about education. He was determined, for example, that every student should have some experience in the arts.

This translated as at least an elementary course in music, dramatics and/or drawing, because:
There is something of the artist in everyone, and the development of this talent, however small, carrying with it a severe discipline of its own, results in the student's becoming more and more sensitive to order in the world and within himself than he can ever possibly become through intellectual effort alone. (Adamic 1938:626)

Although he cautioned against the possible tyranny of the community, Rice eventually decided that some group activity would,
…help the individual be complete, aware of his relation to others. Wood chopping, road-mending, rolling the tennis courts, serving tea in the afternoon, and other tasks around the place help rub off individualistic corners and give people training in assuming responsibility. (Ibid, 1938:627)



"Rice soon discovered what he would later call the "three Alberses"--the teacher, the social being and the Prussian. The Prussian Albers decried the seeming lack of real leadership at the College and the free-wheeling, agenda-less, community-wide meetings. Rice noted later, "You can't talk to a German about liberty. You just waste your breath. They don't know what the hell you mean" (Duberman 1972:69)."



"The war years ushered in a different kind of Black Mountain; one where students, and at least some faculty members, started lobbying for more structure in learning, but yet more freedom outside the classroom. Lectures and recitations were starting to occur within the classroom, while cut-off blue jeans and nude sun bathing appeared outside. Influential faculty member Eric Bentley insisted to his colleagues: "I can't teach history if they're not prepared to do some grinding, memorizing, getting to know facts and dates and so on…" (Duberman 1972:198). Needless to say, with Albers and many of the original faculty still on board, faculty meetings were decisive and volatile.

Overshadowing this dissent, however, was a new program that was to highlight at least the public notion of a historical "saga" for the College, the summer institutes. Like much at Black Mountain, the summer institutes started more by chance than choice."



"The summer institutes grew throughout the 1940s to include notable talents in art, architecture, music and literature. And it is probably these institutes and the renown of the individuals in attendance that contributed most to Black Mountain's reputation as an art school."



The excitement and publicity generated by the summer sessions, in addition to a general higher education population explosion spurred by the G.I. Bill, put the Black Mountain College of the late 1940s on its healthiest economic footing yet.

Still, Black Mountain managed to avoid financial stability. Student turnover negated some of the volume gains. Faculty salaries rose substantially, but grants and endowments did not. Stephen Forbes, for example, who had always been counted on to supply money to the College in tough times, refused a request in 1949 because he was disenchanted with the new emphasis on arts education at the expense of general education. The ability to manage what money it had also did not increase at Black Mountain, although Josef Albers proposed a reorganization that would include administrators and an outside board of overseers. In the wake of arguments and recriminations about the financial situation and how to solve it, a majority (by one vote) of the faculty called for the resignation of Ted Dreier, the last remaining faculty member from the founding group. In protest, four other faculty members resigned--including Josef and Anni Albers. By selling off some of the campus acreage, the remaining faculty managed to save the College and retain its original mindset of freedom from outside boards and administrators, while setting the stage for yet another era in its history [Charles Olson].



"What Albers lacked in administrative ability, he compensated for in tenacity and focus. What Rice lacked in administrative ability, he balanced with action and ideas. However, when Olson couldn't manage the administrative function, he simply retreated. His idea about turning the successful summer institutes into a similar series of year-long institutes fell on deaf faculty ears. So he gave up trying to strengthen the regular program."



"The vast majority of former Black Mountain students can point to clear instances of lasting influence on the rest of their lives. Mostly, this seems to have occurred through association: with one or two faculty members who made a difference, with a "community" of fellow individuals who were essential resources to one another, or with a new area of endeavor such as painting or writing or farming. Black Mountain, apparently, was a place where association was encouraged. Perhaps this occurred through the relatively small number of people shouldered into an isolated valley, perhaps by a common dedication to the unconventional, or perhaps to the existence of ideals about learning and teaching. At any rate, the encouragement of association with people and with ideas was not the norm in higher education then, nor is it now. Clearly, it is possible to graduate from most colleges and universities today with little, if any, significant association with faculty, students or ideas.

But at Black Mountain, as at other experimental colleges, association could hardly be avoided. Engagement with people and ideas was paramount; activity was rampant. It was social, and it was educational. As Eric Bentley would remark:

Where, as at Black Mountain, there is a teacher to every three students the advantage is evident. . .a means to … [more]
deepspringscollege  reed  reedcollege  stjohn'scollege  prescottcollege  bereacollege  colleges  alternative  alternativeeducation  lcproject  openstudioproject  experientialeducation  unschooling  deschooling  1991  ljacksonnewell  katherinereynolds  keithwilson  eannadams  cliffordcrelly  kerrienaylor  zandilenkbinde  richardsperry  ryotakahashi  barbrawardle  antiochcollege  antioch  hierarchy  organizations  ephemeral  leadership  teaching  learning  education  schools  research  visionaries  ideals  idealism  specialization  generalists  interdisciplinary  multidisciplinary  crossdisciplinary  crosspollination  transdisciplinary  innovation  freedom  bureaucracy  universityofchicago  collegeoftheatlantic  democracy  democraticeducation  structure  ephemerality  popupschools  small  smallschools  josefalbers  charlesolson  johnandrewrice  lucianmarquis  highered  highereducation  progressivism  blackmountaincollege  bmc  maverickcolleges  evergreenstatecollege  experientiallearning  miamidadecommunitycollege  ucsantacruz  monteithcollege  fairhavencollege  westernwashingtonuniv 
may 2013 by robertogreco
George Saunders Has Written the Best Book You’ll Read This Year - NYTimes.com
"You could call this desire — to really have that awareness, to be as open as possible, all the time, to beauty and cruelty and stupid human fallibility and unexpected grace — the George Saunders Experiment."

“He’s such a generous spirit, you’d be embarrassed to behave in a small way around him.”

“There’s no one who has a better eye for the absurd and dehumanizing parameters of our current culture of capital. But then the other side is how the cool rigor of his fiction is counterbalanced by this enormous compassion. Just how capacious his moral vision is sometimes gets lost, because few people cut as hard or deep as Saunders does.”

"the process of trying to say something, of working through craft issues and the worldview issues and the ego issues—all of this is character-building, and, God forbid, everything we do should have concrete career results. I’ve seen time and time again the way that the process of trying to say something dignifies and improves a person."

""...I don’t really think the humanist verities are quite enough. Because that would be crazy if they were. It would be so weird if we knew just as much as we needed to know to answer all the questions of the universe. Wouldn’t that be freaky? Whereas the probability is high that there is a vast reality that we have no way to perceive, that’s actually bearing down on us now and influencing everything. The idea of saying, ‘Well, we can’t see it, therefore we don’t need to see it,’ seems really weird to me.”"
struggle  progress  suicide  davidfosterwallace  canon  understanding  kindness  living  life  thinking  open  openminded  dignity  character  integrity  ideals  morality  humans  human  fallibility  aynrand  capitalism  careerism  compassion  junotdíaz  humanism  writing  economics  empathy  georgesaunders  2012  wisdom  storytelling 
january 2013 by robertogreco
Portland/CreativeMornings - William Deresiewicz on Vimeo
"Entrepreneurialsm isn't necessarily bad, but I'm just struck by the fact that it seems to be *the* ideal. … the exclusive ideal. … This is far from only true of only young people… the small business ["that also includes nonprofits"] has become the idealized social form or life expression of our time, in general."

"If you think back a century ago to the heyday of high modernism and aestheticism, art for art's sake, the artist as… the culture hero… All of the attributes that were attached to being an artist or to making art then are … attached to entrepreneurialism now… like autonomy, freedom, heroism, imagination, creativity, adventure."

"The affect that we all have now is the salesman's personality. It's the smile and shoeshine. It's "the customer is always right." It's "I'm not going to offend anybody beacuse I don't know whether I'm going to want to sell them something or do business with them. I don't know when I'm going to run into them down the road." And even if we're not literally sellling something, although more and more of us are because of social media, because we are on social media, we are — all of us — at least selling one thing, which is ourselves. The contemporary self is an entrepreneurial self, a self that is packaged to be sold."

"Young people today think in terms of fixing the world by making things and selling them."

"I'm going to suggest to you that selling is inherently corrupting… Selling corrupts the product it sells… Selling as counter culture, as dissent, as revolution… is a contradiction in terms."

"What we have is a loss of the avant-garde. And I'm defining avant-garde not in terms of experimentation, for example, but specifically art that offers resistence to its audience, art that is not easily consumable. And not just art… we don't really have an avant-garde of thought either. Because if you make people uncomfortable, which is what avant-garde art and thought has to do, than they're not going to buy — in either sense — what you're selling them, so we tone it down, we sort of tart it up, we put in a dance beat, we stay within acceptable moral and aesthetic limits. Maybe we try to surprise a little bit, but we surpise in a way that we know is not going to be disturbing."

"We are always presenting something that is in some way familiar to the audience because we know it has already sold, it has a track record."

"Let us not confuse imagination with innovation and even progress." —P.J. O'Rourke

"We have disgarded creativity in exchange for a steady supply of marketable products." —Gary Kasparov

"Everything is being created for the consumer market."

"The avant-garde has been coopted by commerce. The notion of creativity has become indentified with the idea of technology and technology has been identified with products. Instead of being mobilized as citizens the way the avant-garde wanted to, we are being marketed to as consumers."

"We are not doing what the avant-garde is supposed to do, which is to challenge the basic social, political, and economic stucture of our world, reimagine and reinvent our social relationships."

[From the @FranzKafka article, but similar to the talk.] "[W]hat about creators who don’t want to have to sell themselves, who don’t like it, who aren’t good at it, who feel it saps their energy? (Beethoven’s website? Van Gogh’s Facebook page? Kafka’s Twitter feed?) There’s something to be said for agents and managers and publishers and record labels, despite their drain upon the artist’s purse and the artist’s patience—people who are good at things that creators usually aren’t and don’t want to have to be. And then, what about creators who are good at them—but not at, you know, creating? The more that selling becomes central to the process, the more the process will reward people who are good at selling."

"Our ideal [the small business] is just a thing, it's not really an ideal."

"The Generation Y style really doesn't embody anything. What does hipster style say? It just says that I'm hip."

"The ethos of DIY social engagement goes along also with a withdrawal from politics, which is inherently a sphere of two things that Millenials say they hate (and not just Millenials) conflict and large institutions."

"The idea of creative social change is that what starts at the edges will go to the center. But unless we engage politics directly, what starts at the edges will stay at the edges."

"Against the immense power of coordinated wealth, … the small business model does not amount to very much. I don't think you can change the system either by just working within it or, another response, dropping out of it. I think you can only change it by confronting it directly."
morality  ideals  ideology  art  thought  thinking  cv  millennials  entrepreneurship  smallbusiness  commerce  sellingout  selling  2012  avant-garde  society  change  gamchanging  scale  salesmanship  williamderesiewicz 
july 2012 by robertogreco
A College Education for All, Free and Online - Commentary - The Chronicle of Higher Education
"Most elite American colleges are content to spend their vast resources on gilding their palaces of exclusivity. They worry that extending their reach might dilute their brand…Righteousness is easy; generosity is hard. In any event, Harvard's public-relations wizards managed to spin the university's decision to subsidize tuition for families making three times the median household income as a triumph of egalitarianism. The institution could easily use a program designed to help desperately needy students living in political, environmental, & economic turmoil to burnish Harvard's brand.<br />
<br />
If Harvard doesn't seize the opportunity, some other university will. Reshef is the first to tell you that he didn't invent any of the tools that UoPeople employs…<br />
<br />
If colleges with the means to do so don't contribute to the cause, they will at best have betrayed their obligations & their ideals. At worst, they will find themselves curating beautiful museums of a higher-education time gone by."
universityofthepeople  highereducation  elearning  education  egalitarianism  harvard  elitism  class  ideals  highered  learning  online  uopeople  2011  shaireshef  opencourseware  openaccess 
july 2011 by robertogreco
gewgaw » Moving On
"This makes career planning a bit difficult. If I were soully focused on climbing the ladder - I’d hop from short project to short project, asking for title bumps and raises. It’s a common strategy for managers and (it seems) fairly successful within larger companies. But because I care more about ideals (good game, good team, player/creativity focus) than ends - I often have a hard time articulating exactly where I want to be in the next 3 years - let alone 5."
via:blackbeltjones  careers  management  administration  ideals  projects  cv  goals  work  organizations 
may 2009 by robertogreco

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