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robertogreco : randallszott   36

6 Kinds of Public - Dilettante Army
Long ago, I adopted the moniker “dilettante ventures” as a frame for my cultural activity. At the time it was envisioned as a collective comprised of three other art and curatorial collectives. Much like this journal seeks to do, I spent a fair amount of time trying to rehabilitate the word “dilettante.” Lately though, I’ve given up on worrying about that sort of framing, because now I have to rehabilitate another word—“republican.” In November 2018, I was elected to the Vermont State Legislature. As a candidate, I appeared on the ballot as the nominee of two political parties—the Democrats and the Progressives. But to be accurate about my political philosophy, I am a decentralist communitarian republican. Identifying as small-r republican, even though it isn’t the same as being a capital-r Republican, can be problematic for me. On my winding trajectory from an artist-that-doesn’t-make-art to a librarian/legislator, I’ve investigated how republican themes of interdependence, virtue, and civic responsibility might be usefully employed in the (neo)liberal political quagmire we find ourselves. Here are the key concepts I use to understand the links between art and community-making in a new era of progressive politics:

Public Art, new genre



Public Culture



Public Good, scale of



Public Library



Public Philosophy



Public Realm



Public Work



Public work brings me back to the inadequacy of social practice (art). I have proposed “social poiesis” as an alternative. “Poiesis” is a word, mostly used in literary theory, that describes creative production, in particular the creation of a work of art. “Social poiesis,” then, encompasses not only the production of art and art environments, but also the creative production of society through things like urban planning, sports leagues, communes, be-ins, residencies, raves, state fairs, theme parks, cults, encounter groups, Chautauquas, and even legislating. Governance, properly undertaken, is public work, positing “citizens as co-creators of the world.” This world of artistic citizenship demands a variety of public actions and inquiry, some of which I’ve touched on here. Above all it demands a reevaluation of the promise and potential of a revived republican spirit."
randallszott  public  publics  republican  2019  suzannelacy  roberthariman  montesquieu  thomasaugst  williamsullivan  libraries  publiclibraries  hannaharendt  harryboyte  publicwork  publicrealm  philosophy  socialpracticeart  art  publigood  publicculture  culture  republicanism  community  decentralization  interdependence  virtue  civics  governance  neoliberalism  liberalism  progressive  progressivism  vermont 
april 2019 by robertogreco
Intensification without representation – a recipe for collapse | Lebenskünstler
"Inspired by M. Jahi Chappell (title above), Ivan Illich (relationship of energy consumption, social/economic inequality, and specialization) and Joseph Tainter (quote below). Needless to say the arts are subject to the same law of declining marginal returns. Also note that there is immense energy consumption involved in administrators maintaining the social coercion necessary for institutional buy in from the administered."
randallszott  participatorydemocracy  democracy  infrastructure  specialization  technocracy  technology  inequality  community  representation  hierarchy  horizontality  mjahichappell  ivanillich  josephtainter  energy  energyconsumption  socialcoercion  coercion  administration  management  leadership 
june 2016 by robertogreco
against art historical noodling or why social poiesis is more interesting than social practice especially if by social practice we really mean social practice art – Even more stuff I said in blog comments with the really challenging, thoughtful, respons
"But I remain interested in social practice to the degree that it remains social practice, rather than social practice *art*. So when we inquire into the aesthetics of participation for instance we don’t get bogged down in all the art historical noodling that paralyzes so many critics from the old school. It is important to emphasize that all kinds of “problems” are solved by recognizing that art [frieze/e-flux/triple canopy type art], is just a highly specialized and mostly pointless parlor game played with, and within, aesthetic experience. If we remain attuned to aesthetics and aesthetic experience (especially from an embodied, phenomenological point of view) or to “the arts” or “the art of” or “the artful” rather than to Art, we increase the chances of having the “dynamic, complex and difficult dialogues” *** seeks rather than the insular professional tiffs of the Art world. Melvin Haggerty (1935) said it much better:"

“Art is a way of life” is a simple statement of short and familiar words. It expresses a way of looking at life that is very old in the history of thought. If it now seems strange it is because we have permitted art to become divorced from the ordinary activities in which men [sic] engage and its cultivation to drift into the hand of specialists from whom the mass of mankind is separated as by a chasm. In recent times this chasm has become very broad and very deep. To men [sic] absorbed in the work of the world artists appear to be a cult and their work and conversation seem esoteric and almost mystical. To artists ordinary folks appear ignorant and unappreciative, and very often their thinly veiled contempt for plebeian tastes has led them to caustic expression. This dissociation is artificial; it is injurious to art and impoverishes life.



[art as a way of life] sees that as the experiences of life multiply, new and varied purposes arise that call for the invention of new objects and new forms of expression and that these, in turn, vastly increase the possibilities of enriching life…This elemental reality that binds into a single pattern all the varied arts is more important for the philosophy of education than is the stress so often laid upon the differences that superficially separate one kind of creative work from other kinds.



We have assumed a way of looking at art that permits no gulf between the simple arts of life and the so-called fine arts. It sees all as man’s [sic] more or less successful efforts to create things that increase the comforts, the efficiencies, and the pleasures of living…This view cherishes not even the ethically tinged distinction between good art and bad art.



The distinction between creation and appreciation is not one between activity and passivity but rather one among different kinds of activity. The realization of this fact should emphasize the essential unity of art experiences."


[See also: http://randallszott.org/2016/01/31/social-practice-in-an-expanded-field-against-art-historical-noodling-and-for-sunday-morning-doodling/ ]
randallszott  art  criticality  johndewey  fritzhaeg  rhicrdshusterman  socialpractice  socialpracticeart  aesthetics  clairebishop  davidrobbins  carlwilson  gregorypappas  ic-98  larryshiner  maryannestaniszewski  melvinhaggerty  professionalization 
february 2016 by robertogreco
A continuum along which soil practice and social practice occur | Lebenskünstler
"the art system has become industrial agriculture
aesthetic ecology as gardening – learn from your grandmother and your neighbor, pick up some magazines or books, watch some YouTube videos and get growing, no gatekeepers, no degrees required

the art system says the only real gardening is done by experts

seed saving (AE) vs. industrial ag research (AS) – person to person innovation (AE) vs. institutionally controlled validation (AS)

museums, galleries, and universities act much like Monsanto taking up vernacular practices, formalizing them, squeezing the living core out, and controlling their distribution and viability

aesthetic ecology favors diversity – formal, institutional practices, but also backyard gardeners, community gardeners, homesteaders, etc"
art  gardening  linear  linearity  cycles  sustainability  2016  randallszott  amateurs  amateurism  ecology  professionalization  capitlalism  elitism  specialization  generalists  distributed  centralization  permaculture  agriculture  growth  economics  museums  control  distribution  diversity  institutions  institutionalization  aesthetics  socialpractice 
february 2016 by robertogreco
Art is a petty conception | Lebenskünstler
"Myself I cannot see the persistence of the artist type. I see no need for the individual man of genius in such an order. I see no need for martyrs. I see no need for vicarious atonement. I see no need for the fierce preservation of beauty on the part of a few. Beauty and Truth do not need defenders, nor even expounders. No one will ever have a lien on Beauty and Truth; they are creations in which all participate. They need only to be apprehended; they exist externally. Certainly, when we think of the conflicts and schisms which occur in the realm of art, we know that they do not proceed out of love of Beauty or Truth. Ego worship is the one and only cause of dissension, in art as in other realms. The artist is never defending art, but simply his own petty conception of art. Art is as deep and high and wide as the universe. There is nothing but art, if you look at it properly. It is almost banal to say so yet it needs to be stressed continually: all is creation, all is change, all is flux, all is metamorphosis."

– Henry Miller
art  artists  beauty  truth  randallszott  henrymiller  unart 
february 2016 by robertogreco
The best art criticism shouldn’t even talk about art – Steve Cottingham opens the door, but can’t walk through | Lebenskünstler
"I would not so humbly offer my own “practice” (which of course isn’t one, or can’t be called one without scare quotes) as a partial solution to some of the quandaries posed. Take the conversation out of the hands of the art journals, the symposia, the universities, and into all the disreputable, trivial places like facebook, blogs, and bars. Maybe the best art criticism shouldn’t even talk about art. Be polite. Be mean. Be drunk. Be angry. Be respectful. Be a fucking jerk. Each is an appropriate tactic at certain times. But above all, don’t take yourself too seriously especially if you insist on continuing to talk about art. We must truly address the “problem with professionalization” (something I’ve posted about extensively on this blog) as Cottingham puts it [emphasis added]:
Art criticism is in crisis because we have a problem with professionalization. We are steeped in the vernacular of capitalism, and we are afraid to leave it. Our world is rife with administration, mimicking the bureaucratic processes of the corporations so many of us profess to hate. We are content to let our artistry cease as soon we begin writing proposals, drafting business letters, and carefully collating our résumés. We push limits and subvert expectations everywhere except on the back-end, that realm which increasingly dominates artistic practices.

Too often, we seek to industrialize our passions. We simultaneously demand creative and financial nourishment from what my grandmother’s friend once dismissively called “a hobby.” Art critics laud artwork that resists capitalist pressures, but rarely does the criticism equally embody the form of this resistance.

I have also talked incessantly about monetizing passions and what that, along with adopting a language and culture of work implies for such passions. So, I would offer the same advice to art critics, that Kaprow offered to artists: “Once the task of the artist was to make good art [criticism]; now it is to avoid making art [criticism] of any kind.” Or: “Artists [art critics] of the world, drop out! You have nothing to lose but your professions!” And finally: “…the idea of art cannot easily be gotten rid of (even if one wisely never utter the word). But it is possible to slyly shift the whole un-artistic operation away from where the arts customarily congregate, to become, for instance, an account executive, an ecologist, a stunt rider, a politician, a beach bum. In these different capacities…[art] would operate indirectly as a stored code that, instead of programming a specific course of behavior, would facilitate an attitude of deliberate playfulness toward all professionalizing activities well beyond art.” So rather than being art critics, become unart critics. Congregate in those uncustomary places, use your creative/critical/empathetic/poetic/agitational powers in every nook and cranny – sometimes, if you insist, in the mausoleum of art , but don’t be “afraid to leave it” either because I “can’t imagine a more thrilling place to be.”"
randallszott  2015  art  artcriticism  criticism  professionalization  unart  stevecottingham  capitalism  work  hobbies  artleisure  leisurearts  resistance  bureaucracy  careerism 
march 2015 by robertogreco
Art is a prison: Ferran Adrià exploring an imaginative elsewhere | Lebenskünstler
"Ferran Adrià Feeds the Hungry Mind – Sam Borden [ http://www.nytimes.com/2015/01/04/business/ferran-adria-the-former-el-bulli-chef-is-now-serving-up-creative-inquiry.html ]

A decent example of why art is so boring to me. Once you disconnect aesthetics and creativity from the lame ass chains of art history you can be way more inventive…or as David Robbins put it:

“All the time, though, my sensibility pointed toward and yearned for an imaginative Elsewhere. I became increasingly dissatisfied with the narrowness of art as a formulation of the imagination. This will sound preposterous to many people, I’m aware, given that art offers and represents extraordinary behavioral freedoms, but in “making art” I found an ultimately enslaving formulation. How so? In art, you can do, yes, anything you want so long as you’re willing to have it end up as art. That isn’t real imaginative freedom, in my view. Inquisitiveness of mind will carry you past art, and apparently I love inquisitiveness of mind more than I love art.”


So what is his goal? The foundation’s current mission seems to flutter between worldly and chaotic. Consider the activity on a morning in November: One group of employees worked in a corner of the loft on prototypes of a website known as BulliPedia that, when finished, will be a type of Wikipedia for haute cuisine. On the opposite side of the room, a young woman edited pages intended for a multivolume book collection tracing the history of food. At a desk facing the window, three men spent hours researching white asparagus. (It was not immediately clear what this was for.)



“this is a flow chart of a cucumber’s existence”



He also seems uninterested in running his foundation as a typical start-up, and his rigid devotion to his own mantras can occasionally give the entire operation a cultish feel. Additionally, it isn’t obvious exactly how his ideas will make the leap from notion to project. Mr. Adrià has nominally divided the foundation into two main strands: knowledge, which is the group focused on creating BulliPedia; and creativity, which is focused on, in his words, “deconstructing the entire process of creativity.” He calls this group El Bulli DNA.

If the names of the various projects aren’t enough to keep straight, Mr. Adrià adds a few more: El Bulli Lab is the Barcelona-based office where people associated with El Bulli DNA do their work. That should not be confused with 6W Food, which may not get going for a few more years but is expected to be a sort of cross between a science museum, an art museum and a house of culinary innovation. Also in the works is a search engine known as SeaUrching (named in part for the delicacy) as well as a language to describe gastronomy known as Huevo, Spanish for egg. Huevo, it was noted by one of Mr. Adrià’s colleagues, could ultimately be a digital language coded for use by refrigerators or other kitchen appliances.
ferranadrià  art  creativity  inquiry  randallszott  davidrobbins  samborden  bullipedia  elbulli  food  invention  history  theweightofhistory  arthistory  aesthetics  6food  elbullilab  inquisitiveness  curiosity  freedom  imagination  artleisure  leisurearts  seaurching  elbullidna  knowledge  learning  labs  laboratories  process  gastronomy  culinaryarts  huevo  2015 
january 2015 by robertogreco
The audacity of participation: another art/food manifesto | Lebenskünstler
"1. Figuring out what is or isn’t art is like pondering what is or isn’t “authentic” Vietnamese cuisine – a hobby of pedants and thought police that usually just gets in the way of a pleasurable experience.

2. Conflating art with aesthetics is like conflating French cooking with the entire culinary universe, or maybe even haute cuisine with the totality of what constitutes food.

3. Molecular gastronomy might be the cooking equivalent of contemporary art, not only because of its rarefied nature, elevated ambition, and intellectual bent, but also because it is elitist, full of gimmicks, faddish, and dying a well deserved death.

4. Art is a cancerous cell in the body of aesthetic practices, attempting to replicate itself at the expense of the larger body, crowding the diverse, multi-cellular ecosystem with its one dimensional excesses.

5. Eliminate all art departments and replace them with aesthetics departments (but let’s eventually dismantle them too).

6. Art departments have actually become Art Department Studies, mistaking the problems of art students, professors, and the educational edifice with the problems of art. They also forget that their professionalizing practices (the critique, baptism by theory, the artist statement, etc.) do not serve art, but serve only to beg for disciplinary approval from the corporate university.

7. Art, then needs audacious cooks, perhaps some of which have gone to school, but many that have not, who are not cooking to impress their instructors, but to make tasty food. Art needs the audacity of participation, not led by art world facilitators, but by upstart food truck ventures, by home cooks, by all the people who are bold enough to believe that they are already participating if the so called experts would just get out of the way."
art  randallszott  2014  aesthetics  arteducation  education  leisureart  artleisure  professionalization  manifestos  food  participatroy  participation  leisurearts 
october 2014 by robertogreco
Transcendent dandyism – The art of dolce far niente – Albert Cossery and escape artistry | Lebenskünstler
"Extreme Indolence: On the Fiction of Albert Cossery [http://www.thenation.com/article/168020/extreme-indolence-fiction-albert-cossery ]

"…A novelist who made a cult of laziness, he had no qualms about taking it easy when it came to literary invention—“The same idea is in all my books; I shape it differently,” he once said…



Cossery’s heroes are usually dandies and thieves, unfettered by possessions or obligations; impoverished but aristocratic idlers who can suck the marrow of joy from the meager bones life tosses their way. They are the descendants of Baudelaire’s flâneur, of the Surrealists with their rejection of the sacrosanct work ethic, of the Situationists and their street-theater shenanigans, not to mention the peripatetic Beats or the countercultural “dropouts” of the 1960s. Henry Miller, who raised dolce far niente to an art form, praised Cossery’s writing as “rare, exotic, haunting, unique.” Whether Cossery’s merry pranksters wish merely to have a good time or, as in The Jokers, to wage an all-out campaign of raillery against the powers that be, there is one belief they all share: the only true recourse against a world governed by “scoundrels” is an utter disregard for convention, including the convention of taking anything seriously.



…The proud beggars in this story are Gohar, who has abandoned a professorship to live on the fringe as a street philosopher and bookkeeper in a brothel; Gohar’s protégé, the poet and drug dealer Yeghen, who tries to live his life as if it were itself a poem; and El Kordi, a revolutionary sympathizer chafing against his dead-end job as a government clerk.

…"

Albert Cossery and the Political Subversion of the Transcendent Dandy [http://www.deathandtaxesmag.com/114238/albert-cossery-and-the-political-subversion-of-the-transcendent-dandy/ ]

"The Egyptian-French novelist Albert Cossery was a philosophical and aesthetic dandy who loathed the idea of work, celebrated underground movements and ideas, and absolutely detested power. He was the dandy as a political subversive—an idea that must be resurrected.



Cossery, in a sense, is something of the offspring of the Surrealist Jacques Vache, a self-described “umourist” who revelled in doing nothing at all. An artist who decided not to create art, a poet who decided not to write poetry, all in an effort to prove that creation of works is counter-intuitive to the true artist, who must live the art and not leave evidence or relics as proof of genius.



Governments are, in fact, quite terrified of this sort of philosophical dandyism—of the aggregate of individuals who subvert by gleefully doing nothing.



And so it is the politically subversive dandy—the transcendent dandy—who is best-equipped to lead a new politically-subversive movement, where a panoply of ideas merge like a kaleidoscope. The dandy understands the absurdity of power and the various ways to subvert, ignore and transcend it, without resorting to violent means.

Dandyism, at its core, is political subversion, and Albert Cossery was nothing if not a dandy. And it was the dandies, the forgotten and ignored whom Cossery celebrated in his novels.



…Characters opt to withdraw from any idea of a career. To recognize the absurdity of joining power in its game (government) and staying as far away from it as possible. To know that love—for friends, fuck buddies, boyfriends, girlfriends—was all and that it was untouchable, transcendent.

We need a new era of dandyism, of subversives. We need a new counter-culture.

The dandy as imagined by Cossery has time to think and enjoy life. Idleness is not only a virtue for Cossery and his characters, it is elevated to the natural state of being—a rejection of the unnatural tethers which are fixed to our bodies as soon as we escape the womb: the classroom, the cubicle, the wage, the dollar, rent, and so forth."

[See also: http://randallszott.org/2014/09/29/loving-those-that-god-forgets-albert-cossery-idleness-is-more-than-a-way-of-life/
http://randallszott.org/2014/09/29/how-to-stop-time-toward-a-politics-of-the-unprolific-eternal-life-for-the-lazy/ ]
albertcossery  randallszott  2014  dandies  dandyism  idleness  counterculture  subversion  subversives  power  art  poetry  writing  wageslaevery  wages  oppression  classrooms  education  schools  unschooling  deschooling  cv  rent  careers  governement  love  friendship  transcendence  politics  nonviolence  philosophy  nothing  trickster  laziness  classroom 
october 2014 by robertogreco
Art is an unmade bed: a normcore aesthetics manifesto | Lebenskünstler
"I don’t want art to ask any questions, unless it is “what would you like for dinner?” I want art to be predictable, like a romantic comedy that leaves you crying on the couch even though you knew they would end up together. I’d like it to sit in your lap and purr. Art should be like a mailbox – mostly junk, filled with ads, scams, bills, and the occasional birthday card. I don’t want art to teach me anything, unless it is how to make compost or how to organize my closet. I want art to be happy with what it has, I don’t want it to try to get ahead. Art ought to be gossip magazines in the waiting room. It should be a doily on your grandmother’s dresser. Art ought to be a cup holder in your car or the wrappers in the backseat. Or maybe art could be an armrest or bath mat. Art should be like a GAP ad. It should be paint peeling from a barn. I think art should quit being art, should change its name, go into the witness protection program. Art should be your new neighbor and wave to you from their driveway. I want art to be normal. You never have to know the crimes, the dirty deeds, or its sordid past. Art should be an unmade bed that sometimes gets fresh sheets when you’re having a party."
randallszott  normcore  art  everyday  2014  leisurearts  artleisure 
september 2014 by robertogreco
Social practice must be broad, or not at all – Some stuff I said on facebook with the really challenging, thoughtful, responses removed | Lebenskünstler
"Being a good mom, being a good dad, being a good neighbor – these things are every bit as urgent and political as self-consciously being “radical” no? Picking up trash along your street or bringing cookies to the school teacher are every bit as “socially engaged” as AIDS activist billboards, fossil fuel divestment die ins, or WTO protests. To me, politician, artist, activist are all professional designations (or always on the verge of being used in that manner) that certain activities are best left to those who identify as such. And that masks the political and aesthetic value people create (or destroy) in their everyday lives…so I totally agree that there are grandiose claims made for social practice, but this is no different than those made for radical political activism which also could be said “to ignore its increasingly professionalizing aspects while simultaneously insisting on its relevancy” All power to the people, even the dopey, unradical ones, even the cheese ball hug circle social practice do gooders, or the Wal-mart greeter that despite all the farcical theater of the smiley face low prices, is truly enthused and upbeat while greeting you."



"I at least stake my normative claim for an expansive social practice one that isn’t owned (exclusively) by art, academia, or activists. Something like – Social practice must be broad, or not at all."

[See also: https://pinboard.in/u:robertogreco/b:439d4d6072f7 ]
everyday  socialpractice  socialpracticeart  art  living  life  radicals  radicalism  randallszott  glvo  parenting  neighbors  2013  slow  small  amateurs 
may 2013 by robertogreco
Manifesto on Art – Fluxus Art Amusement – George Maciunas, 1965. | Lebenskünstler
"ART
To justify artist’s professional, parasitic and elite status in society,
he must demonstrate artist’s indispensability and exclusiveness,
he must demonstrate the dependability of audience upon him,
he must demonstrate that no one but the artist can do art.

Therefore, art must appear to be complex, pretentious, profound,
serious, intellectual, inspired, skillful, significant, theatrical,
It must appear to be caluable as commodity so as to provide the
artist with an income.

To raise its value (artist’s income and patrons profit), art is made
to appear rare, limited in quantity and therefore obtainable and
accessible only to the social elite and institutions.

 

FLUXUS ART-AMUSEMENT
To establish artist’s nonprofessional status in society,
he must demonstrate artist’s dispensability and inclusiveness,
he must demonstrate the selfsufficiency of the audience,
he must demonstrate that anything can be art and anyone can do it.

Therefore, art-amusement must be simple, amusing, upretentious,

concerned with insignificances, require no skill or countless
rehersals, have no commodity or institutional value.
The value of art-amusement must be lowered by making it unlimited,
massproduced, obtainable by all and eventually produced by all.

Fluxus art-amusement is the rear-guard without any pretention
or urge to participate in the competition of “one-upmanship” with
the avant-garde. It strives for the monostructural and nontheatrical
qualities of simple natural event, a game or a gag. It is the fusion
of Spikes Jones Vaudeville, gag, children’s games and Duchamp."
1965  art  leisurearts  randallszott  georgemaciunas  dispensibility  society  artwork  work  labor  demystification  fluxus  manifestos  artamusement  amateurs  everyday  artleisure 
march 2013 by robertogreco
Who counts, or should count, as a “meaning maker?” – The problem with “cultural production.” – One side of of a facebook conversation on art and culture « Lebenskünstler
"Not only would critics of art from other disciplines be interesting so too would artists. One of the reasons I gave up on undergraduate art education was that everybody was busy making stuff without any foundation to drive it – except art. They were all living in an art school bubble (not unlike a Fox News bubble). Making art completely within the framework of art and only questioning it within its own terms.

Sure there were other courses than studio ones, but they were those dumbed down “math for artists” sorts of classes. I would love an art world in which there was no such thing as an undergraduate art degree. Art created from a vantage point of something in the world other than art would be so much healthier and relevant than the inbred mess we have now."

"Oh how the art world LOVES its criticality! Looking to other academic disiciplines, is fine (as **** suggests) but let’s not confine ourselves to academia."

[More Claire Bishop:

"Claire Bishop's "Participation and Spectacle: Where Are We Now?," Presented as part of Living as Form"
https://vimeo.com/24193060

"Clair Bishop. Directed Reality: From Live Installation to Constructed Situation. Lecture"
https://vimeo.com/2572410 ]
everydaylife  rural  suburban  urban  culturemaking  culturalproduction  collections  making  clairebishop  professionalization  jouissance  pleasure  leisurearts  meaning  meaningmakers  meaningmaking  artworld  criticism  artcriticism  everydayaesthetics  everyday  theeveryday  theory  socialpractice  randallszott  art  post-productiveeconomy  amateurs  artleisure  culturecreation  ordinary  ordinariness 
november 2012 by robertogreco
Human Nature, Education, Ecology – Dewey, Darwin, Midgley, Kropotkin [Part I] « Lebenskünstler
[All but one of the parts in bold are here.]

"Our humanity is not expressed through developing our individual talents and abilities, but by building bonds outward into the world…"

"The good for the human species, like all species, emerges from within the evolutionary story, and is not independent or opposed to it."

"While education needs to foster growth, it also needs to help celebrate the meaning of the moment."

"The notion that we “have a nature,” far from threatening the concept of freedom, is absolutely essential to it."

"The very idea of dehumanization is predicated on the idea that there is a human essence which has, in some fundamental sense, been degraded."

"…equality is not sameness. A belief in sameness here is both irrelevant to the struggle for equal rights and inconsistent with the facts."

"We need the vast world…"

"Children, poets and scientists – that is, human beings who relate to life with a sense of humility and awe – have a particular prescience for wonder."
deschooling  unschooling  leisurearts  society  evolution  humans  human  equalrights  equality  variety  variation  humility  networks  peterkropotkin  marymidgley  community  connectivism  attention  presence  present  humanism  dehumanization  sameness  scientists  poets  curiosity  darwin  diversity  learning  education  ecology  wonder  religion  eilonschwartz  johndewey  2012  randallszott  neoteny  artleisure  charlesdarwin 
october 2012 by robertogreco
Introduction to 127 Prince – The journal that never really was « Lebenskünstler
"127 Prince was a journal intended to deal with "the art of social practice and the social practice of art." It had some amazing content, but never really got rolling"

"In all honesty, I find journals, in the academic sense, mostly boring. If by calling this thing a journal we mean a peer reviewed and scholarly contribution to the professional field of art, count me out. Or maybe I mean if that is all it is, if the only sense of journal we embody is the academic one, then like Bartleby, I would prefer not to…

If however, we mean by journal a record of observations, a place for inquiry, a venue for conversation, or what the art set now calls a “platform,” then by all means, please include me. My dear friend Ben Schaafsma (now deceased) had a blog called Center for Working Things Out. That economically describes my ambitions for this enterprise."

"Finally, I want to put love and “common” aspirations back in the mix. I would love for my mom to be able to read this journal…"
fashion  design  yurikosaito  katyamandoki  everydayaesthetics  everyday  criticism  culturalcriticism  carlwilson  conversation  inquiry  observations  accessibility  language  leisurearts  art  socialpractice  platforms  127prince  2012  randallszott  journals  amateurs  artleisure 
september 2012 by robertogreco
Nel Noddings – Caring « Lebenskünstler
“The one-caring, then, is not bored with ordinary life…the one-caring finds new delight in breakfast, in welcoming home her wanderers, in feeding the cat who purrs against her ankle, in noticing the twilight. She does not ask, ‘Is this all there is?,’ but wishes in hearty affirmation that what-is might go on and on…Now one may ask just how the celebration of everyday life contributes to the maintenance of the ethical ideal. First, of course, as we have seen, such celebration turns the one-caring in wonder and appreciation to the source of her ethicality. It is for the most part in ordinary situations that  we meet others for whom we shall care and who care for us. Second, celebration of ordinary life requires and is likely to enhance receptivity. The magic of daily life may be missed by one who constantly seeks adventure and ‘something new.’ Celebration of daily experience provides opportunities for engrossment, for complete involvement in living”
care  caring  leisurearts  noticing  everyday  everydaylife  wisdom  living  life  ethics  randallszott  nelnoddings  artleisure  ordinary  ordinariness 
april 2012 by robertogreco
Douglas Sloan – Insight-Imagination « Lebenskünstler
“An education in which skills, narrow intellect, and information have no connection with insight, imagination, feeling, beauty, conscience, and wonder and that systematically evades all engagement with the great, central issues and problems of human life, is a wasteland.”

[quoting David Bohm] “…insight is not restricted to great scientific discoveries or to artistic creations, but rather it is of critical importance in everything we do, especially in the affairs of ordinary life.”

“…chronological snobbery and temporal provincialism that so constrict the modern mind set.”

[and this especially on the academically 'gifted'] “Those who display the requisite intellectual skills are singled out as special for their proficiency in the use of an aspect of mind that has no intrinsic relationship to the art of living well as persons…Most have been ill equipped by their education to live well as persons, to find delight in friendship and love, in the joys of sound and touch and color…”
lcproject  insight  humanism  conscience  beauty  snobbery  academia  academics  gifted  deschooling  unschooling  friendship  love  wisdom  living  life  well-being  education  randallszott  douglassloan 
april 2012 by robertogreco
The Art of Work – Roger Coleman « Lebenskünstler
“The very artiness of the events organized by even the most progressive artists showed thay they still saw themselves and their work as an elite – as somehow special. Nor could I sympathize with people who wanted to form an artists’ union or, to give a more proletarian ring to it, an art-workers’ union. To me such a pretence served only to emphasize the split between art and everyday life…Seeing art increasingly as a middle-class pretension, I had little choice but to give it up…I would have to sleep in a lonely bed.” – Roger Coleman
everydaylife  leisurearts  randallszott  progressives  marxism  proletarian  philosophy  elitism  art  rogercoleman  artleisure 
february 2012 by robertogreco
Leigh Blackall: Situated art, situated learning - En Route by One Step At A Time Like This
"I think the artistic intent of these concepts could be enhanced with study of Joseph Beuys' work, particularly the Free International University, as well as Situationist International and their desire to create environments for discovering and appreciating the true value of things rather than their staged value.

All of this makes for excellent examples to add to my essay in progress on Ubiquitous Learning - a critique, where I'm trying to argue that the words ubiquity and learning have nothing inherently to do with technology, and are instead words of ethical dimension, so the phrase ubiquitous learning should become one more to do with an ethical approach or framework to learning, and not one suggesting a technological determination of it."
context  situated  situationist  leighblackall  comments  josephbeuys  newpublicthinkers  technology  art  situatedlearning  ubiquitouslearning  2837university  agitpropproject  agitprop  williamhanks  randallszott  colinward  learning  unschooling  deschooling  education  messiness  ethics  georgesiemens  curation  curating  curatorialteaching  connectivism  space  place  explodingschool  adamgreenfield  guydebord  enroute  street  urban  urbanism  cities  cityasclassroom  thecityishereforyoutouse  cv  lcproject  psychogeography  urbanscale  salrandolph  situatedart 
may 2011 by robertogreco
INTHECONVERSATION: Art Leisure Instead of Art Work: A Conversation with Randall Szott [Truly too much to quote, so random snips below. Go read the whole thing.]
"Sal Randolph talks w/ Randall Szott about collections, cooking, "art of living," & infra-institutional activity."

"undergrad art ed seemed overly concerned w/ 'how & what to make' sorts of questions…"

"in my possibly pathetic & overly romantic vision of considered life, I am quite hopeful about ability of (art & non-art) people to improve their own experience & others' in both grand & mundane ways"

"I would like to build along model of public library. Libraries meet an incredibly diverse set of needs & desires"

"art is a great conversation…tool for making meaning & enhancing experience, but it is highly specialized, & all too often, closed conversation of insiders"

"I am deeply committed to promoting "everyday" people who are finding ways to make lives more meaningful - devoted amateurs to a variety of intellectual pursuits, hobbyists, collectors, autodidacts, bloggers, karaoke singers, crafters, etc…advocate for a rich, inclusive understanding of human meaning-making."
2008  salrandolph  randallszott  leisure  art  living  collecting  food  cooking  life  slow  thinking  philosophy  unschooling  deschooling  credentials  artschool  education  learning  skepticism  everyday  vernacular  language  work  leisurearts  dilletante  generalists  cv  distraction  culture  marxism  anarchism  situationist  lcproject  tcsnmy  intellectualism  elitism  meaning  sensemaking  interdisciplinary  multidisciplinary  projectbasedlearning  projects  openstudio  crossdisciplinary  transdisciplinary  thewhy  why  audiencesofone  canon  amateurs  artleisure  darkmatter  pbl  artschools 
may 2011 by robertogreco
The Department of Aesthetics
"The Department of Aesthetics is devoted to research, education, and exploration in applied aesthetics and the arts of living."
education  writing  art  research  artists  randallszott  aesthetics  artofliving  life  living 
may 2011 by robertogreco
Neogeography - Wikipedia
"Neogeography literally means "new geography" (aka Volunteered Geographic Information), and is commonly applied to the usage of geographical techniques and tools used for personal and community activities or for utilization by a non-expert group of users. Application domains of neogeography are typically not formal or analytical.…

The term neogeography was first defined in its contemporary sense by Randall Szott on 7 April 2006, and elaborated on May 27, 2006. He argued for a broad scope, to include artists, psychogeography, and more. The technically-oriented aspects of the field, far more tightly defined than in Szott's definition, were outlined by Andrew Turner in his Introduction to Neogeography (O'Reilly, 2006). The contemporary use of the term, and the field in general, owes much of its inspiration to the locative media movement that sought to expand the use of location-based technologies to encompass personal expression and society."
design  mapping  geography  collaborative  slippymaps  gis  maps  cartography  location-based  psychogeography  randallszott  non-experts  amateur  amateurism  informal  community 
may 2011 by robertogreco
WE CAN WORK IT OUT by Randall Szott « 127 PRINCE
"In all honesty, I find journals, in the academic sense, mostly boring. If by calling this thing a journal we mean a peer reviewed and scholarly contribution to the professional field of art, count me out. Or maybe I mean if that is all it is, if the only sense of journal we embody is the academic one, then like Bartleby, I would prefer not to…

If however, we mean by journal a record of observations, a place for inquiry, a venue for conversation, or what the art set now calls a “platform,” then by all means, please include me. My dear friend Ben Schaafsma (now deceased) had a blog called Center for Working Things Out. That economically describes my ambitions for this enterprise…

I’d love to keep the messiness of the human condition front and center, not the sort of messiness proponents of agonistic models of art and community champion, but the simple messiness of embodied human experience."
aesthetics  exchange  everyday  experience  social  randallszott  messiness  human  life  living  art  socialpractice  observations  inquiry  humanexperience  127prince 
may 2011 by robertogreco
127 PRINCE: On the art of social practice and the social practice of art.
"127 Prince is a new journal named after the location of artist Gordon Matta-Clark’s 1971 restaurant FOOD. Like FOOD, 127 Prince hopes to function as a site for conversation. The journal will present and examine ideas on the art of social practice, and the social practice of art.

The national (US) editorial board is comprised of founding editors Ted Purves (Oakland, CA), Randall Szott (Oak Park, IL), Jen Delos Reyes (Portland, OR), and Tracy Candido (Brooklyn, NY); the managing editor is Nancy Zastudil (Taos, NM)."
art  writing  research  social  randallszott  tracycandido  jendelosreyes  tedpurves  blogs  matta-clark  127prince  conversation  socialpractice  gordonmatta-clark 
may 2011 by robertogreco
he said, she said
"an exhibition and event series held in the home of Pamela Fraser and Randall Szott. They will take turns presenting what amounts to an ongoing conversation about art and culture - Ms. Fraser presenting art and artists, and Mr. Szott sharing the activities of people who work in other contexts. Together they hope to offer up a fun and thoughtful take on current ideas in art and life."

Randall: "he said she said is not an exhibition space. It’s two people sharing things they like with the public. It’s a conversation, not an argument–isn’t that what couples always say when people catch their disagreements?"

Pamela: "he said-she said is an exhibition space in the home of organizers Pamela Fraser and Randall Szott. In the tradition of the apartment-gallery, shows are held in a domestic setting, in this case, relatively unaltered. Exhibitions will fluctuate between he said and she said, and will function as arguments for their respective interests and positions."
randallszott  pamelafraser  art  conversation  events  homes  glvo  life  sharing  culture  chicago  hesaidshesaid 
may 2011 by robertogreco
InCUBATE [Quotes from the 'about' page]
"InCUBATE is a research group dedicated to exploring new approaches to arts administration and arts funding. We at InCUBATE act as curators, researchers and co-producers of artists projects. These activities have manifested in a series traveling exhibitions called Other Options, an artist residency program, and various other projects such as Sunday Soup (a monthly meal that generates funding for a creative project grant). We don’t have non-profit status, instead we are interested in what kinds of organizational strategies could provide more direct support to critical and socially-engaged art and culture beyond for-profit or non-profit structures. Our core organizational principle is to treat art administration as a creative practice. By doing so, we hope to generate and share a new vocabulary of practical solutions to the everyday problems of producing under-the-radar culture. Currently we do not have a physical location and we work together on an ongoing project basis."

"Finally, it is worth noting how various models such as a labor unions, community centers, block-clubs, or religious institutions seem to resolve some of the key problems facing our concept of the slow build. Consider how these institutions provide space and resources, exert political influence, and allow for the participation of wider demographics. Our task for the future is to produce these effects without instituting a rigid hierarchy or overtly moralizing and dogmatic system in order to affect a more equitable, participatory, and democratic future."
art  economics  social  community  collaboration  anarchism  incubate  randallszott  lcproject  openstudio  curation  curating  hierarchy  flatness  slow  chicago  democracy  culture  culturehacking  activism  administration  engagement  organizations  organization  equity  participatory  residencies  pop-upculture  exhibitions  projects  horizontality  horizontalidad  ncm  participatoryart  everyday  amateurs 
may 2011 by robertogreco
Draft of a manifesto written in defense of a group of people that did not ask for my defense, using words they would not use and engaging people they ignore. « Lebenskünstler
"While you wring hands over what it all means, we are trying to change the world, build relationships and communities. Are we naive? Possibly. We prefer a world of naive dreamers to cynical observers. Keep your beloved “criticality.” Hold it close to your heart and tell us what you feel. We are friends, not “colleagues” and we choose to embrace humane values and each other. We offer a different vision. Against the professional hegemony of academic intellectualism we offer – trust, love, sentiment, passion, egalitarianism and sincerity…

We are gamblers, believing in the value of risking everything for the sake of our “foolish” dreams and schemes."
randallszott  doing  livign  acting  cynicism  2010  manifestos  art  theory  practice  glvo  lcproject  tcsnmy  intellectualism  humanity  passion  egalitarianism  sincerity  trust  love  sentiment  worldchanging  dreamers  academia  risk  risktaking  amateurism  unschooling  deschooling  understanding  cv  leisure  tinkering  wittgenstein  johndewey  philosophy  isolation  shopclassassoulcraft  authenticity  rigor  Rancière  agamben  brucewilshire  richardshusterman  robertsolomon  booklist  nicolasbourriaud  radicalphilosophy  antonionegri  naïvité  everyday  amateurs 
may 2011 by robertogreco
Lebenskünstler « Lebenskünstler
"The word is “Lebenskünstler.” It is a German word and connotes a person who approaches life with the zest and inspiration of an artist, although he or she may not be working recognizably as an artist.

Lebensfreude = joy of living
Lebenskunst = art of living
Lebenskünstler = master of the art of living

* Lebenskünstler (“life artist”, someone who masters life in a somewhat eccentric way)
* -meister (primarily satirical usage)

connoisseur of the art of living – Lebenskünstler {m}

Imagine making art, not with paint or clay, but with life itself as your medium. A “life artist,” or “Lebenskuenstler” as the Germans would say, is someone who finds beauty in the colors life puts at their disposal, someone who makes do with the brushes they’ve got and doesn’t pout over a few mistaken strokes."
randallszott  art  artofliving  life  german  words  definitions  lebenskünstler  joyofliving  living  well-being  language 
may 2011 by robertogreco
Art Work Redux – Temporary Services – Basic Income vs. Workfare « Lebenskünstler
"We need less work, less labor, and more emphasis on generating wealth outside of an economic rubric. I think we’re basically on the same page here, but they focus on the plight of artists far more than I care for. In fact, I rarely see anyone lament the sorry state of arts funding other than arts professionals and wannabes. It makes one pause to see a group (here I am not speaking specifically about TS) proclaim over and over how important what they do is, yet decry the fact that no one else seems to recognize this. Maybe that should tell them a bit about how much value they actually offer. If I were to be concerned about one group being justly compensated for what they do, it would be stay at home moms or adult caregivers, not artists. This singling out, of course, is pointless though."
randallszott  work  labor  economics  elitism  art  2010  temporaryservices  wpa  production  everday  amateurs 
may 2011 by robertogreco
Off-Topic | Randall Szott : Bad at Sports
"I went to several art schools…but found them all incapable of or unwilling to answer some fundamental questions about art practice – Why is it important? Who is it important to? & how does it fit into history, not art history?…schools seemed prepared to teach how to make art, but not why making art mattered to anyone beyond campus. In fact, most evidence I encountered seemed to imply very few people felt type of art being made in art schools in early to mid 90s mattered at all. For a discipline that prides itself on capacity for self-reflection & critique, it seemed strange to me that asking what seemed like such obvious questions would be met w/ such incredulity & would brand me as testy crank. Maybe I was destined for kitchen work all along given notorious tempers of cooks/chefs. Maybe art types are the temperamental ones, especially when asked to provide some semblance of proof that what they’re doing matters to anyone beyond their circle of like minded art enthusiasts…"
art  culture  teaching  food  pedagogy  undergraduate  randallszott  artworld  why  thewhy  reflection  self-reflection  artschool  2010  artschools 
may 2011 by robertogreco
placekraft
"placekraft is an interdisciplinary research module devoted to generating and studying: tactical urbanism, speculative cartography, ephemeral/vernacular architecture, and itinerant practices."
design  art  architecture  maps  mapping  randallszott  interdisciplinary  cartography  vernacular  speculativecartography  speculative  tacticalurbanism  situationist  incubate  radicalcartography  museumofjurassictechnology  glowlab  socialfiction  centerforlanduseinterpretation 
may 2011 by robertogreco
Randall Szott - Wikipedia
"Randall Szott…is known mostly in the field of social practice.

He is a founding editor of 127 Prince, runs He Said She Said (an exhibition and event series with his wife Pamela Fraser), & co-organizes the Public Culture Lecture Series at threewalls in Chicago, IL.

Szott mostly eschews formal descriptions of his activities & has written anonymously for/as LeisureArts & placekraft. His work for/as LeisureArts has been cited hundreds of times on blogs, in interviews, etc. His writing for placekraft was cited as defining the contemporary sense of neogeography…

Szott is also a merchant mariner. He is a cook aboard the largest hopper dredge owned by a US company and has also cooked professionally in restaurants/private clubs in Pittsburgh, PA, Chicago, IL, and Columbus, OH."
randallszott  socialpractice  art  interdisciplinary  multidisciplinary  crossdisciplinary  generalists  culture  neogeography  interestingpeopleivemetonline 
may 2011 by robertogreco
Randall Szott
"Randall Szott embodies the spirit of an old Dennis Miller joke in that he doesn’t know enough about anything to impress strangers and just enough about everything to annoy his friends. Or is it the reverse? He spent 11 years in college at 7 schools in 5 states and has 3 degrees. He has been cooking professionally for around a decade and has prepared everything from Thanksgiving dinner for over 300 to multi-course wine tasting menus for 12. His life is a series of three week cycles on land and three at sea working as a cook aboard the largest US owned hopper dredge. Inexplicably, institutions occasionally invite him to present his thoughts and activities in a public setting, even ones that should know better like SFMOMA, basekamp, The University of Houston, The California College of the Arts, and threewalls."
randallszott  generalists  art  philosophy  interdisciplinary  multidisciplinary  crossdisciplinary 
may 2011 by robertogreco
LeisureArts: MacGyver - Bricoleur - LeisureArts
"…pushing for re-thinking the field, finding other ways to critically negotiate, & promote work of cultural MacGyvers. Robyn Stewart, in Text [Oct 2001], writes in…"Practice vs. Praxis: Constructing Models for Practitioner Based Research:"

"It is not easy being a bricoleur. A bricoleur works w/in & btwn competing & overlapping perspectives & paradigms (& is familiar w/ these). To do so they must read widely, to become knowledgeable about variety of interpretive paradigms that can be brought to a problem, drawing on Feminism, Marxism, Cultural Studies, Constructivism, & including processes of phenomenography, grounded theory, visual analysis, narratology, ethnography, case & field study, structuralism & poststructuralism, triangulation, survey, etc."

It's not easy to write about them either…requires challenging available orthodoxies, an equally at-ease disposition w/ regard to switching conceptual domains & categories, & flexibility to leave one's critical assumptions behind…"
bricolage  bricoleur  leisurearts  generalists  arts  art  culture  reading  cv  marxism  feminism  constructivism  narratology  ethnography  casestudies  fieldstudies  aesthetics  poststructuralism  structuralism  survey  triangulation  phenomenography  groundedtheory  theory  praxis  robynstewart  macgyver  criticalthinking  interdisciplinary  multidisciplinary  crossdisciplinary  crosspollination  research  claudelevi-strauss  culturehacking  hacking  tinkering  lcproject  unschooling  deschooling  jacks-of-all-trades  making  doing  glvo  dilettante  bernardherman  randallszott  2006  jacquesderrida  artleisure 
april 2011 by robertogreco

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