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Fantasies of the Library | The MIT Press
"Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas--as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others.

The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.”

Contributors
Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska"
books  toread  libraries  future  bookfuturism  anna-sophiespringer  etienneturpin  erinkissane  hammadnasar  meganshawprelinger  rickprelinger  charlesstankievech  katharinatauer  andrewnormanwilson  joannazylinska  print  prelingerlibrary  curation  opensource  ebooks  kaderatta  wafaabilal  markdion  rodneygraham  katiepaterson  veronikaspierenburg  2016 
november 2016 by robertogreco
K. Verlag | Press / Books / . 1 Fantasies of the Library
"… is a sequence of pages wherein the reader-as-exhibition-viewer learns, rather surprisingly—but with growing conviction—that the library is not only a curatorial space, but that its bibliological imaginary is also a fertile territory for the exploration of paginated affairs in the Anthropocene. 

Fantasies of the Library inaugurates the intercalations: paginated exhibition series. Virtually stacked alongside Anna-Sophie Springer’s feature essay "Melancholies of the Paginated Mind" about unorthodox responses to the institutional ordering principles of book collections, the volume includes an interview with Rick Prelinger and Megan Shaw Prelinger of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive by Hammad Nasar, Head of Research and Programmes at the Asia Art Archive, Hong Kong; a conversation with media theorist Joanna Zylinska about experiments on the intersections of curatorial practice and open source e-books; and a discussion between K’s co-director Charles Stankievech and platform developer Adam Hyde on new approaches to open source publishing in science and academia. The photo essay, “Reading Rooms Reading Machines,” presents views of unusual historical libraries next to works by artists such as Kader Attia, Andrew Beccone, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, Andrew Norman Wilson, and others.

Edited by Anna-Sophie Springer & Etienne Turpin

Design by Katharina Tauer

Paperback, thread-bound, 160 pages

30 color + 15 black/white images

ISBN 978-0-9939074-0-1 15.99 €

Co-published by K. Verlag and the Haus der Kulturen der Welt, Berlin

Made possible by the Schering Stiftung

Order the book via info@k-verlag.com

+ + 6 for 4: The intercalations box set subscription offer! + +

.

Published in January 2015"
books  toread  2015  anthropocene  anna-sophiespringer  collections  libraries  prelingerlibrary  meganshawprelinger  hammadnasar  rickprelinger  opensource  publishing  ebooks  charlesstankievech  adamhyde  kaderattia  andrewbeccone  markdion  rodneygraham  katiepaterson  veronikaspierenburg  andrewnormanwilson  etienneturpin  kverlag  katharinatauer 
march 2015 by robertogreco
Jen Delos Reyes | Rethinking Arts Education | CreativeMornings/PDX
[video on YouTube: https://www.youtube.com/watch?v=vXWB7A1_zWA ]

"On the complex terrain of arts education today and expanded ways of valuing knowledge.

What should an arts education look like today? Can education change the role of artists and designers in society? How does teaching change when it is done with compassion? How does one navigate and resist the often emotionally toxic world of academia? With the rising cost of education what can we do differently?

Bibliography:

Streetwork: The Exploding School by Anthony Fyson and Colin Ward

Teaching to Transgress by bell hooks

Teaching Community: A Pedagogy of Hope by bell hooks

Education Automation: Comprehensive Learning for Emergent Humanity by Buckminster Fuller

Talking Schools by Colin Ward

Learning By Heart: Teachings to Free the Creative Spirit by Sister Corita Kent and Jan Steward

The Open Class Room by Herbert Kohl

Deschooling Society by Ivan Illich

Why Art Can’t Be Taught by James Elkins

Education and Experience by John Dewey

Freedom and Beyond by John Holt

Notes for An Art School edited by Manifesta 6

Black Mountain: An Exploration in Community by Martin Duberman

Teaching as a Subversive Activity by Neil Postman and Charles Weingartner

We Make the Road By Walking by Myles Horton and Paulo Friere

Education for Socially Engaged Art by Pablo Helguera

Rasberry: How to Start Your Own School and Make a Book by Sally Rasberry and Robert Greenway

This Book is About Schools edited by Satu Repo

Art School: (Propositions for the 21st Century) edited by Steven Henry Madoff"
via:nicolefenton  jendelosreyes  2014  art  arteducation  education  booklists  bibliographies  anthonyfyson  colinward  bellhooks  buckminsterfuller  sistercorita  coritakent  jansteward  herbertkohl  ivanillich  jameselkins  johndewey  johnholt  manifesta6  martinduberman  blackmountaincollege  bmc  unschooling  deschooling  informal  learning  howwelearn  diy  riotgirl  neilpostman  charlesweingartner  paulofriere  pablohelguera  sallyraspberry  robertgreenway  saturepo  stevenhenrymadoff  lcproject  openstudioproject  standardization  pedagogy  thichnhathahn  teaching  howweteach  mistakes  canon  critique  criticism  criticalthinking  everyday  quotidian  markets  economics  artschool  artschoolconfidential  danclowes  bfa  mfa  degrees  originality  avantgarde  frivolity  curriculum  power  dominance  understanding  relevance  irrelevance  kenlum  criticalcare  care  communitybuilding  ronscapp  artworld  sociallyendgagedart  society  design  context  carnegiemellon  social  respect  nilsnorman  socialpracticeart  cityasclassroom  student-centered  listening  love  markdion  competition  coll 
january 2015 by robertogreco
American Schools Are Training Kids for a World That Doesn't Exist | WIRED
[So much to say about this and the nature of the comment thread (as I mentioned on Twitter).]

"Are Americans getting dumber?

Our math skills are falling. Our reading skills are weakening. Our children have become less literate than children in many developed countries. But the crisis in American education may be more than a matter of sliding rankings on world educational performance scales.

Our kids learn within a system of education devised for a world that increasingly does not exist.

To become a chef, a lawyer, a philosopher or an engineer, has always been a matter of learning what these professionals do, how and why they do it, and some set of general facts that more or less describe our societies and our selves. We pass from kindergarten through twelfth grade, from high school to college, from college to graduate and professional schools, ending our education at some predetermined stage to become the chef, or the engineer, equipped with a fair understanding of what being a chef, or an engineer, actually is and will be for a long time.

We “learn,” and after this we “do.” We go to school and then we go to work.

This approach does not map very well to personal and professional success in America today. Learning and doing have become inseparable in the face of conditions that invite us to discover.

Over the next twenty years the earth is predicted to add another two billion people. Having nearly exhausted nature’s ability to feed the planet, we now need to discover a new food system. The global climate will continue to change. To save our coastlines, and maintain acceptable living conditions for more than a billion people, we need to discover new science, engineering, design, and architectural methods, and pioneer economic models that sustain their implementation and maintenance. Microbiological threats will increase as our traditional techniques of anti-microbial defense lead to greater and greater resistances, and to thwart these we must discover new approaches to medical treatment, which we can afford, and implement in ways that incite compliance and good health. The many rich and varied human cultures of the earth will continue to mix, more rapidly than they ever have, through mass population movements and unprecedented information exchange, and to preserve social harmony we need to discover new cultural referents, practices, and environments of cultural exchange. In such conditions the futures of law, medicine, philosophy, engineering, and agriculture – with just about every other field – are to be rediscovered.

Americans need to learn how to discover.

Being dumb in the existing educational system is bad enough. Failing to create a new way of learning adapted to contemporary circumstances might be a national disaster. The good news is, some people are working on it.

Against this arresting background, an exciting new kind of learning is taking place in America. Alternatively framed as maker classes, after-school innovation programs, and innovation prizes, these programs are frequently not framed as learning at all. Discovery environments are showing up as culture and entertainment, from online experiences to contemporary art installations and new kinds of culture labs. Perhaps inevitably, the process of discovery — from our confrontation with challenging ambiguous data, through our imaginative responses, to our iterative and error-prone paths of data synthesis and resolution — has turned into a focus of public fascination.

Discovery has always provoked interest, but how one discovers may today interest us even more. Educators, artists, designers, museum curators, scientists, engineers, entertainment designers and others are creatively responding to this new reality, and, together, they are redefining what it means to learn in America.

At Harvard University, where I teach, Peter Galison, in History of Science, asks his students make films, to understand science; Michael Chu, in business, brings students to low income regions to learn about social entrepreneurship; Michael Brenner, in Engineering and Applied Science, invites master chefs to help students discover the science of cooking; and Doris Sommer, in Romance Languages, teaches aesthetics by inviting students to effect social and political change through cultural agency. Similarly, in the course I teach, How to Create Things and Have Them Matter, students are asked to look, listen, and discover, using their own creative genius, while observing contemporary phenomena that matter today.

Because that’s what discoverers do.

Learning by an original and personal process of discovery is a trend on many US university campuses, like Stanford University, MIT, and Arizona State University. It also shows up in middle school, high school and after school programs, as in the programs supported by the ArtScience Prize, a more curricular intensive version of the plethora of innovation prizes that have sprung up in the last years around the world. Students and participants in these kinds of programs learn something even more valuable than discovering a fact for themselves, a common goal of “learning discovery” programs; they learn the thrill of discovering the undiscovered. Success brings not just a good grade, or the financial reward of a prize. It brings the satisfaction that one can realize dreams, and thrive, in a world framed by major dramatic questions. And this fans the kind of passion that propels an innovator along a long creative career.

Discovery, as intriguing process, has become a powerful theme in contemporary culture and entertainment. In art and design galleries, and many museums, artists and designers, like Olafur Eliasson, Mark Dion, Martin Wattenberg, Neri Oxman and Mathieu Lehanneur, invite the public to explore contemporary complexities, as in artist Mark Dion’s recent collaborative work with the Alaskan SeaLife Center and Anchorage Museum on plastic fragments in the Pacific Ocean. Often they make visitors discovery participants, as in Martin Wattenberg’sApartment, where people enter words that turn into architectural forms, or sorts of memory palaces. In a more popular way, television discovery and reality programs, from Yukon Men to America’s Got Talent, present protagonists who face challenges, encounter failure, and succeed, iteratively and often partially, while online the offer is even more pervasive, with games of discovery and adventure immersing young people in the process of competing against natural and internal constraints.

All this has led to the rise of the culture lab.

Culture labs conduct or invite experiments in art and design to explore contemporary questions that seem hard or even impossible to address in more conventional science and engineering labs. Their history, as public learning forum, dates from the summer of 2007, when the Wellcome Collection opened in King’s Cross London, to invite the incurably curious to probe contemporary questions of body and mind through contemporary art and collected object installations. A few months later, in the fall 2007, Le Laboratoire opened in Paris, France, to explore frontiers of science through experimental projects in contemporary art and design, and translate experimental ideas from educational, through cultural, to social practice. And in the winter 2008 Science Gallery opened in downtown Dublin to bring contemporary science experimentation to the general public (and students of Imperial College) with installations in contemporary art and design. Other culture labs have opened since then, in Amsterdam, Kosovo, Madrid and other European, American, Asian, African and Latin American cities. In the USA, culture labs especially thrive on campuses, like MIT’s famous Media Lab, Harvard’s iLab, and the unique metaLAB, run by Jeffrey Schnapp within Harvard’s Berkman Center. These will now be joined by a public culture lab, Le Laboratoire Cambridge, which opens later this month near MIT and Harvard, bringing to America the European model with a program of public art and design exhibitions, innovation seminars, and future-of-food sensorial experiences.

The culture lab is the latest indication that learning is changing in America. It cannot happen too fast.

We may not be getting dumber in America. But we need to get smarter in ways that match the challenges we now face. The time is now to support the role of learning in the pursuit of discovery and to embrace the powerful agency of culture."
education  us  culturelabs  openstudioproject  2014  davidedwards  howwelearn  highered  highereducation  culture  society  howweteach  lcproject  science  art  design  problemsolving  lelaboratoire  innovation  petergalison  michaelchu  michaelbrenner  artscienceprize  discovery  olafureliasson  markdion  martinwattenberg  nerioxman  mathieulehannaeur  participatory  inquiry 
october 2014 by robertogreco
Mildred's Lane
"…a rustic, 96-acre site deep in the woods of rural northeastern Pennsylvania, in the upper Delaware River Valley, which borders New York state. It is an ongoing collaboration between J. Morgan Puett, Mark Dion, their son Grey Rabbit Puett, and their friends and colleagues. It is a home and an experiment in living. Mildred’s Lane attempts to coevolve a rigorous pedagogical strategy, where a working-living-researching environment has been developed to foster engagement with every aspect of life.

The entire site has become a living museum, or rather – a new contemporary art complex(ity). It is now important to sidestep the debates around what is art ( or design, architecture and fashion) in order to activate these turbulent multiplicities. It is more a question of praxis and action, is it in an institution? Storefront? A gallery? Deep in the woods? At Home?

The Mildred’s Lane site is a home where the Artist/Practitioner, the Student and the Institution have collapsed…"
deschooling  unschooling  storefronts  galleries  life  worklive  pedagogy  mildred'slane  greyrabbitpuett  markdion  jmorganpuett  glvo  pennsylvania  via:salrandolph  lcproject  leisurearts  art  creativity  livework  howwework  workstyles  education  alternative  alternativeeducation  altgdp  artleisure 
june 2012 by robertogreco

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