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    <title>Living to Learn: Art &amp; Education for the Common Good, edited by Noah Simblist — Inventory Press</title>
    <dc:date>2026-05-05T04:24:34+00:00</dc:date>
    <link>https://www.inventorypress.com/product/living-to-learn-art-education-for-the-common-good</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can alternative organizations and traditional institutions learn from one another? How have exhibition platforms created space for artists to generate learning environments? How have these practices changed assumptions about art institutions and artistic production? How can we think about the economic, ecological, and institutional sustainability of all of these practices?

Living to Learn, edited by Noah Simblist of Virginia Commonwealth University, presents the work of over seventy artists, curators, collectives, and scholars who address contemporary art as a site of learning in the twenty-first century. Building on earlier histories of education as civic service for the common good, it focuses on the last twenty-five years while exploring the future of art education as a practice unfolding both in and beyond school. The book’s case studies reveal how innovations in education have a dynamic relationship with artistic practice, alternative arts organizations, universities, museums, and biennials."]]></description>
<dc:subject>art education arteducation openstudioproject lcproject 2026 noahsimblist ecology economics sustainability learning howwelearn life living civilservice alternative altgdp museums universities colleges highered highereducation biennials</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Coalition as continuous calibration: how DIY tech scenes design starting conditions that keep the room open – and what happens when those designs travel.

This text is stitched together from interviews, event traces, listings, follow-up questions, and (selective) first-hand observation – a reconstruction of how formats leave partial footprints."

[See also:
https://fo.am/blog/2026/04/01/coalition-infrastructure/ ]]]></description>
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    <dc:date>2026-03-29T01:54:09+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an era where institutional gravity favours the speed of "solutions" and the clarity of measurable outcomes, what does it mean to simply hold space for the unresolved? This essay marks a year of collaboration with the Nieuwe Instituut, reflecting on a decade of its Research Fellowship Programme — supporting the work of dozens of scholars and practitioners. Following contributions from former fellows, in this essay Delany Boutkan and Federica Notari advocate for a shift from the institution as a concrete host to a porous body."]]></description>
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<item rdf:about="https://www.jstor.org/stable/41413136?read-now=1&amp;seq=1">
    <title>La cédille qui ne finit pas: Robert Filliou, George Brecht, and Fluxus in Villefranche on JSTOR</title>
    <dc:date>2026-03-20T04:36:30+00:00</dc:date>
    <link>https://www.jstor.org/stable/41413136?read-now=1&amp;seq=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Natilee Harren
Getty Research Journal, No. 4 (2012), pp. 127-143 (17 pages)
https://www.jstor.org/stable/41413136 "

"In the summer of 1965, George Brecht and Robert Filliou opened a shop at 12, rue de May in Villefranche-sur-Mer, a seaside village just east of Nice, France. The artists' shop, with its yellow awning and chalkboard sign in the window, in former times a candy store and television repair shop, was called La Cédille qui Sourit, or "The cedilla that smiles" (fig. 1). Imagined first as an English bookshop conceived "under the sign of humor," it was actually, as Filliou has recounted, "a sort ofworkshop and of shop, of nonshop would we say now, for we were never commercially registered, and the Cédille was always shut, opening only upon request of visitors to our homes."1 The artists, both associated with the international, neo-avant-garde Fluxus collective, called their shop a "Center of Permanent Creation," for they were continually producing research, letters, jokes, puzzles, games, recipes, poems, drawings, and events. Yet there were few unannounced visitors to the Cédille, or at least ones who were successful in visiting, since the shop did not have a telephone and Brecht and Filliou seemed not to spend much time there. The artists presided more often at one of the nearby cafés, devising more and more ofthe visual gags they called "One Minute Scenarios," "dis-inventing" objects, adding to their "Anthology of Misunderstandings,"or talking with Alfred the bricklayer, Antoine the fisherman, Fernand the plumber, or anyone else who happened to drop by.2

The Cédille carried materials from a variety of artists associated with Fluxus. On offer were books from Alison Knowles and Dick Higgins's Something Else Press as well as interactive multiples published by leading Fluxus organizer George Maciunas and by Daniel Spoerri's MAT Editions (which stood for Multiplication d'art transformable).3 None of Brecht and Filliou's own works initiated there seemed able to be finished, however; or, as we shall see, their material structure emphasized the possibility of endless reconfiguration. The Cédille's haphazard, almost anti-retail display made its wares indistinguishable from the surrounding works in progress, yet it was an appropriate set-up for the distribution of editions whose openness to alteration belonged to a nonconventional trajectory of artistic objecthood indebted to the readymades of Marcel Duchamp and the indeterminate compositions of John Cage. In this way, the Cédille was more akin to an artist's studio than a white cube gallery; itwas an expansion of the model of Fluxus's artworks-in-flux into an artist-run economy of production, distribution, and exchange.

In any case, the Cédille was a shop that kept no regular hours and had no tidy,
reliable stock of merchandise. Still, it subsisted until 1968: in March, Brecht and Filliou realized that they could not afford to pay rent on the space much longer, and by October they had defaulted on a contract that should have carried the project into 1974. And thus we must admit that the Cédille, if indeed it was meant to function as a store, failed as a commercial venture.4

Yet each ofthe ways in which Brecht and Filliou's project "failed" was deliberate. The Cédille playfully critiqued the expanded commodification and capitalization of art in the 1960s, which coincided with the economic boom ofthe immediate postwar decades. The demands of a growing collector base had instigated the invention and promotion by artists and galleries alike of multiples, a new art product that adopted forms and techniques of mass production and distribution. In the brief period from 1964 to 1967 in New York, multiples were promoted through exhibitions like The American Supermarket at Bianchini Gallery and newly founded ventures like Mass Art, Inc., and Marian Goodman's Multiples, Inc.5 Meanwhile, Brecht and Filliou, disillusioned by their experiences working with commercial galleries in New York and Paris, willfully abandoned the creative and economic centers of the art world for provincial Villefranche. There they continued to develop formats of a tenuous and transmutable materiality and object status, a strategy being advanced across the scene of Fluxus. Launched from a series of European concerts in 1962, Fluxus activity had become concentrated in New York around Maciunas but retained, in ideal if not in reality, shifting international outposts such as Brecht and Filliou's shop. The Cédille was thus not antipodal to Fluxus; rather, it advanced the Fluxus project in ways that exceeded Maciunas's initial conceptual and productive frameworks."

[via:
https://bradleyandroos.micro.blog/2026/03/19/have-been-doing-a-deep.html ]]]></description>
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<item rdf:about="http://thelrm.org/">
    <title>The LRM - The Loiterers Resistance Movement</title>
    <dc:date>2026-02-27T07:06:38+00:00</dc:date>
    <link>http://thelrm.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The LRM (Loiterers Resistance Movement) is a Manchester based not-for-profit collective of artists, activists and urban wanderers  interested in psychogeography, public space and the hidden stories of the city.

We can’t agree on what psychogeography means but we all like plants growing out of the side of buildings, looking at things from new angles, radical history, drinking tea and getting lost; having fun and feeling like a tourist in your home town. Gentrification, advertising and blandness make us sad. We believe there is magick in the mancunian rain.

Our city is wonderful and made for more than shopping. The streets belong to everyone and we want to reclaim them for play and revolutionary fun….

The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, uncover hidden histories and discover the extraordinary in the mundane. We aim to nurture an awareness of everyday space, (re)engaging with, (re)mapping and (re)enchanting the city.

On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. These range from giant cake maps to games of  CCTV Bingo. Information on forthcoming events is here. We were founded in 2006 by Morag Rose and 2016 we celebrated 10 years of creative mischief with Loitering With Intent: The Art and Politics of Walking at The Peoples History Museum. 

Please walk with us, everyone is welcome. Our events are free and open to all: these are our streets and they are yours too. 

If you have any questions or comments, or have any access needs to discuss (we will do our best to meet them) you can contact us at

Email mlrose@thelrm.or

Comment on the Facebook group the loiterers resistance movement

We hope to see you playing out with us soon xx"]]></description>
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<item rdf:about="https://homegrownyouthcollab.com/">
    <title>Homegrown Youth Collaborative</title>
    <dc:date>2026-02-23T03:54:13+00:00</dc:date>
    <link>https://homegrownyouthcollab.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Homegrown Youth Collaborative is a peoples school rooted in the Southern California and Tijuana border region. We are made up of young people and comrades organizing across borders to take back our education. Together with insurgent youth, families, and educators of the Global Majority, we build collective liberatory knowledge projects grounded in struggle, not school.

We are anti-capitalist, anti-imperialist, and abolitionist. We believe in national liberation, revolutionary socialism, and the power of collective study to fight empire.

What we do:

• We create political education programs that connect theory to action.
• We host skillshares, study groups, and workshops.
• We make our own journals and learning tools.
• We run cross-border gatherings and learning spaces.
• We support youth organizers through trainings and long-term political homebuilding.
• We plug youth into local and international movements fighting imperialism, policing, borders, and displacement.
• We build collective power through education, not for jobs, but for liberation.

Why we do it:

• Schools aren’t broken. They’re doing what they were built to do: sort, punish, and prepare working-class youth to serve empire.
• We reject the carceral logic of U.S. schooling.
• We believe youth don’t need classrooms to be theorists, and don’t need degrees to fight for life.
• Our way of studying looks different. We don’t memorize facts—we ask questions. We study contradictions. We study struggle. We take a dialectical and historical materialist approach to learning, rooted in the needs of the masses, not the rules of empire. We learn from movements across the world—in Palestine, Congo, Puerto Rico, Iran, the Philippines, and beyond—where people are fighting for land, life, and freedom. We honor all forms of resistance: everyday refusal, cultural survival, political education, direct action, and armed struggle. We believe in building people’s power, not making peace with empire.

Our learning is inseparable from care, from grief, from our neighborhoods, from our desire to live otherwise. We are building something different. And we hope you’ll build with us.

Support our work

Resourcing our work helps pay youth organizers, fund political education, and build the collective infrastructure we need to keep organizing across borders and across ages."

[See also:
https://www.instagram.com/homegrownyouthcollab

via Julie Choo:
https://www.are.na/julie-choo/ ]

[from the "Our Work" page:
https://homegrownyouthcollab.com/our-work

Grading Back School – Youth Power, Adult Supremacy, and Collective Demands

A two-part workshop for elementary and middle school students to “grade back” their school—not through test scores or behavior charts, but by creating their own report card rooted in collective power.

Through roleplay and storytelling, students will explore the everyday realities of school and ask critical questions about power: Who decides the rules? Who doesn’t? What happens when students don’t follow the rules?

We’ll connect these experiences to the concept of adult supremacy and how this system is a part of colonial and imperial rule, training young people to obey, not to question.

Affirming their right to struggle, students will practice writing a collective letter of demands to name what they want to see change at their school and what they know they deserve.

Albert Einstein Academies
April  24th and July 8th, 2025
2-4pm PST

***

Militarized Geographies: A Young Peoples Resistance to War and Schooling

In collaboration with Project Yano, Secret City SoCal, Palestinian Youth Movement San Diego, and Veterans for Peace. 

An intergenerational community workshop and film screening connecting the violence of militarism and young people’s resistance to militarization in the San Diego Tijuana borderlands, past and present. 

We will be screening two powerful short films: “Connie Stay Home,” which explores the anti-Vietnam War campaign in San Diego that mobilized thousands of people to vote against sending the USS Constellation aircraft carrier back to Vietnam, and “Yo Soy El Army,” which takes a critical look at military recruitment targeting Latino communities, particularly young people. Alongside the screenings, we will be countermapping the military presence in our schools and neighborhoods through a series of activities. We will also hear from youth organizers and elders from past and ongoing anti-imperialist and anti-war movements.

Centro Cultural de la Raza
January 25th, 2025
6-8:30pm PST

***

A Peoples History of Schooling: Un/Re-Learning Study/Working Group

An ongoing study/working group on a people’s history of education and people’s schooling. 

Using readings and archival material, we will be exploring the relationship between education and settler colonialism, prisons, war/militarization, labor, and imperalism to develop a material analysis of historical and present day conditions of the US education system and colonial/neo-colonial education internationally. How have people used militancy and popular education to resist subjugation and organize themselves toward self-determination?

As a working group, will also explore how we can translate our study to political education programming within our communities, particularly in the context of the US-Mexico borderlands in which Homegrown’s work has been rooted.

November 2024-February 2025
Tuesdays, 6-7:30 pm PST

***

Sowing Seeds for Learning Beyond Borders

An Allied Media Conference session through the Youth Liberation for Education Justice Track.

This session exposes how the colonial capitalist school system divides and alienates our communities and consciousness. Schools separate us by race, class, language, and ability, policing our bodies and controlling how we learn and move through the world. They sort students into rigid categories — tracking some as “winners” and others as “failures,” disciplining youth with surveillance and punishment, and erasing Indigenous, Black, and working-class histories and ways of knowing.

We will analyze how schools enforce borders between young and old, public and private knowledge, English speakers and multilingual learners, able-bodied and disabled students all to maintain capitalist social relations and control over labor and bodies.

Through collective analysis and creative brainstorming, we’ll reclaim intergenerational and community knowledge that resists capitalist alienation and state violence. Together, we’ll strategize how to dismantle these oppressive borders—physical, linguistic, generational, and epistemic—to build collective, abolitionist educational spaces grounded in solidarity and self-determination.

This is a call to disrupt, sabotage, and overthrow the schooling system that trains submission and reproduces capitalist domination so that our youth can learn to resist, organize, and build a world beyond empire.

Allied Media Conference  - Virtual
July 1st, 2022
11-12:30 am PST

***

Sonic Frontlines / Fronteras Sonoras

A three-part cross-border workshop and listening praxis rooted in our collective fight against settler-colonial borders and capitalist extraction. This intergenerational program, led by youth facilitators Ana Cossío García and Daniela Sandoval Argüelles, centers the San Diego–Tijuana borderlands as a frontline in the struggle for community sovereignty and liberation.

We will deep listen to the multilingual sonic landscape of our communities—labor, movement, memory, and survival—that the colonial state and capitalist forces try to silence and control. We will expose how these oppressive systems fragment our communities and erase histories.

Using sound as a weapon, we will dismantle the logistics of control by learning to build and wield pirate radio and autonomous media platforms. These tools disrupt imperialist communication regimes, reclaim stolen space, and stitch together ruptured networks of power and solidarity. 

This series is a practice in anti-imperialist solidarity, cultivating insurgent networks through sound.

Tijuana - 18 de marzo parque
San Diego - 99 cent store
August 6th, 2022
10am-1:30pm PST

***

How Schools Operate: A Teach-In and Resource Toolkit Release

An intergenerational teach-in with Radical History Club and Homegrown youth educator, Sophie. They will guide us through the histories of violence of the US education system and how schools operate as a means of assimilation to the status quo and as a factory worker training ground.

Libélula Books & Co
February 12th, 2022
4-6:30pm PST"]

[Contact:
https://homegrownyouthcollab.com/contact

Please email us at homegrownyouthcollab@protonmail.com if you’d like to get in touch.

If you are a young person looking to find a space to deepen your political education or build your organizing skills in practical, creative, and accessible ways, we’d love to hear from you! This is also a space for older educators and organizers looking to learn alongside and mobilize our next generation. 

We welcome inquiries from those who want help to develop classes, resource materials, activities or who would like us to facilitate a learning activity at your event. If you have questions or want to connect about a resource we’ve shared, we’d be happy to schedule a call!"]]]></description>
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<item rdf:about="https://www.libelulabooksandco.com/">
    <title>Books | Libelula Books And Co | San Diego</title>
    <dc:date>2026-02-23T03:48:19+00:00</dc:date>
    <link>https://www.libelulabooksandco.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We hope to become a learning and sharing space where folx of all walks of life can exist and grow together. 

Barrio Logan is a place with a strong pulse that has been kept beating by generations of Chicanx & Indigenous people.

We are grateful to be part of a community that takes care of one another and values Art, storytelling and resistance as strongly as we do. 

Collectively we are invested in pouring in resource, love, guidance, time into our youth and the next generations."]]></description>
<dc:subject>sandiego books booksellers barriologan openstudioproject lcproject bookstores</dc:subject>
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<item rdf:about="https://woodencity.substack.com/p/perfect-lives">
    <title>Perfect Lives - by Isaac Rangaswami - Wooden City</title>
    <dc:date>2025-09-26T07:52:05+00:00</dc:date>
    <link>https://woodencity.substack.com/p/perfect-lives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A conversation with Bruno Halper and Daniel Lichtenstein, proprietors of a book, record and ephemera shop in SE14"

...

"One Sunday in February, I went for a wander around Deptford, before drinking a couple of pints at the Little Crown on New Cross Road. Then I walked home to Brockley, via a newly opened shop that I’d been meaning to visit.

This business occupies a pair of slender whitewashed units between two houses. The unit on the left has bars over its windows and looks less like a garage than the one on the right. It also has a deep red door, and a sign with scratchy black lettering that reads “Perfect Lives”.

Inside are more objects than either space should reasonably contain. You can browse boxes of jazz, dance, classical and folk revival records, as well as a hoard of rare and delicate printed material. Many of these books, posters and publications have yellowed with age, and their contents are too varied to group together under neat umbrella terms. I’ve since learned that this is because Perfect Lives is a collection of people’s collections.

On this first visit, I asked the guy behind the counter what was cheap. As he pitched me several things, it soon became clear that he knew the provenance of every single item in the shop. I left with a summer 1983 issue of the official journal of The International Mackintosh Society, for £5. At the time of writing, Perfect Lives’ recent acquisitions included an uncrumpled, 50-year-old public notice about a philandering Cuban percussionist and an oversized programme for Fernando Arrabal’s The Labyrinth, from its 1968 London premiere.

Over the past 18 months, I’ve asked lots of shopkeepers about their businesses. The guy I spoke to at Perfect Lives was the most forthcoming proprietor I’d spoken to, so I made a mental note to come back. Later, I found out that it was a two-man band and decided to ask the owners if they were up for being interviewed.

I sat down with Bruno Halper and Daniel Lichtenstein in August. They wore identical trousers and drank from the same water bottle as we spoke, more like brothers than business partners. They told me about where they source their products and how they make a living selling them. We also spoke about things like permanence, the state of London, the places they like to go and the lives they lead as proprietors of such an unusual shop.

I had the best time speaking to Bruno and Daniel. Businesses like theirs give me hope that London’s supply of old-fashioned shopkeepers is still being replenished."]]></description>
<dc:subject>bookstores booksellers shops lcproject openstudioproject cafes 2025 brunohalper daniellichtenstein archives records inconveniencestore isaacrangaswami coffeeshops coffeehouses secondhand retail shopkeepers business curation collections collecting vintage</dc:subject>
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<item rdf:about="https://www.koozarch.com/essays/fundamentals-on-design-as-a-transformative-process">
    <title>Fundamentals: On Design as a Transformative Process – KoozArch</title>
    <dc:date>2025-09-22T05:48:18+00:00</dc:date>
    <link>https://www.koozarch.com/essays/fundamentals-on-design-as-a-transformative-process</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is uncanny to read how many architecture and design classrooms and studios are still heavily focused on training architects to deliver “completed” objects, from the scale of the spoon to that of the building. Although such pursuits might be imbued with the most high-tech solutions in terms of sustainability, relatively few of these face up to the facts of capitalism's short sighted definition of sustainability to the technosphere. Bound up in economic models of growth and backed by certifications that frequently focus on the operational energy of a building, seldom considering its life cycle, most current construction industry models justify demolishing and erecting new buildings, under the assumed pretext that ‘new’ equals ‘more sustainable’. What this model conveniently forgoes is the extractive hollowing that such “new” endeavours incur, both in terms of the “Carboniferous/Jurassic/Cretaceous; deep/shallow reserves” from which we are extracting1 but also the presumed holes we are shaping which will bury the exhausted shells — now potentially toxic waste — of our supposedly sustainable “completed” buildings, whose life span today is generally designed to be of less than 50 years. A built environment which is made of human-made bricks, mortar, concrete, and glass is not designed to be easily taken apart but rather demolished by brute force2, leaving little much more than useless rubble — to the extent that almost 30% of materials delivered to a construction site ends up as waste. It is of course a fact that worldwide, some 40% of all total solid waste is attributed to the construction industry. As the construction sector is set to grow significantly in the coming years, the number of holes that we will need to bury our sins within the depths of Gaia leaves one reeling."]]></description>
<dc:subject>pedagogy design transformation process materials federicakambeletti koozarch education sustainability unmade unproduct nonproduct subversion assembly disassembly architecture ecology community participation participatory openstudioproject lcproject empowerment</dc:subject>
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<item rdf:about="https://archive.org/details/202241_Student_Directed_Curriculum">
    <title>Student-Directed Curriculum: An Alternative Educational Approach : Educational Coordinates : Free Download, Borrow, and Streaming : Internet Archive</title>
    <dc:date>2025-09-10T23:18:29+00:00</dc:date>
    <link>https://archive.org/details/202241_Student_Directed_Curriculum</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Describes an experimental student-directed curriculum project at San Francisco Polytechnic High School, with many street scenes of San Francisco."

[Also here:

"Student-Directed Learning: Inside San Francisco's Alternative High School"
https://www.youtube.com/watch?v=_gzMIPchjug

"What happens when students take charge of their own education? This eye-opening 1970s documentary explores a student-led curriculum at San Francisco Polytechnic High School. Featuring dynamic street scenes, classroom innovation, and youth empowerment. A fascinating case study in alternative education. Thank you to archive.org and Prelinger Archives."]]]></description>
<dc:subject>1971 1970s sanfrancisco sfusd sfpolytechnichs education schools schooling sfpolytechnic sanfranciscopolytechnic curriculum alternative lcproject openstudioproject learning howwelearn teaching howweteach pedagogy student-directedlearning student-directed highschool</dc:subject>
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<item rdf:about="https://www.ideo.org/perspective/whats-school-for">
    <title>We’re Losing the Plot on School | IDEO.org</title>
    <dc:date>2025-09-09T16:33:08+00:00</dc:date>
    <link>https://www.ideo.org/perspective/whats-school-for</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What are we really preparing young people for?"

...

"Over the past year, I’ve been on an epic world tour, sitting in rooms with education and workforce leaders, thinkers, and practitioners who are all wrestling with the same question: What is the future of education?

Among teachers and prospective employers, there’s a growing urgency to rethink what it means to prepare young people for the future, largely driven by the proliferation of genAI and its impact on the future of work. In 2024, 77% of employers globally struggled to find talent with the right skills, while 72% of high school graduates report feeling unprepared to make decisions about their next steps. With millions of U.S workers expected to shift careers in the coming decade as skill demands evolve, the labor market is shifting faster than people can keep up with.

These trends around youth workforce readiness coalesce with another problem: mental health. In 2023, 40% of high school students reported feeling so sad or hopeless for at least two weeks in a row that they stopped engaging in their usual activities. ​​Technology and a changing social fabric are deepening isolation, reshaping not only how we work but how we relate. It has left young people with fewer chances to practice the messy but essential work of being in community. Unsurprisingly, teens are now turning to AI for companionship, a concerning signal that makes teaching relational skills more urgent than ever.

The narrowing of education

In a race to prepare for the future, education seems to be reduced to a single goal: preparing students for work.

It’s not a new phenomenon. Market-driven thinking has fueled pushes toward an increased emphasis on STEM and coding over the past two, three decades. Now, as the disruption from AI becomes more visible and visceral, the response feels familiar. At a recent education conference, I saw schools branding themselves as “AI schools”… whatever that means. But in this rush to ready young people for the future economy, I worry we risk losing sight of what they need to grow into whole, healthy humans.

When I was a teacher in 2018, I watched school become an increasingly isolating experience.

Students were spending more time completing assignments independently on Chromebooks rather than collaborating with each other on group projects. As educators, we were encouraged to tailor instruction to each student’s needs, but in practice, that often meant driving students apart.

Over those years, I rarely saw the most meaningful learning happen in isolation. More often, it unfolded during band concerts, football games, and messy group projects—moments when young people came together and came alive. In working with others, navigating frustration, leaning into collaboration, and ultimately feeling pride in what they accomplished together, I saw the real growth happen. As a teacher, I came to understand that learning isn’t just about mastering a skill. It’s about building interdependence and discovering what it means to contribute to something bigger than yourself. And that makes sense—our purpose as humans isn’t just to work. It’s to care, connect, love, imagine, and live meaningfully with one another.

Schools can’t lose sight of that.

How we get it right

Last year, we partnered with a Dallas-based education nonprofit and the Garland Independent School District to co-design interventions aimed at reducing behavioral issues in classrooms. As we spent time in the hallways and classrooms listening to teachers and students, we quickly saw that the kids weren’t ok and neither were the adults. Teachers were exhausted, stretched thin by the demands of the job and the lack of resources. Students were carrying their own burdens, feeling unseen, misunderstood, and treated like problems instead of people.

Students and teachers told us the real problem wasn’t “bad behavior.” It was burnout and disconnection. Together, we mapped the everyday moments when tensions ran high, surfaced what support would actually be useful in those moments, and tested quick, low-lift ideas. Teachers became invaluable co-designers, shaping a toolkit of simple, scalable tools to rebuild trust and strengthen relationships. In the rush to get through curriculum, schools had unintentionally designed out moments for connection. The mood meter—a quick check-in tool teachers could use after moments of tension or disruption to help the whole classroom reground—was one small way we designed it back in.

Because the people living the problem shaped the solution, the tools actually worked: in the first year, exclusionary discipline dropped 36%, and teachers reported that classrooms felt more supportive and engaged. More importantly, in a system where those closest to the problem rarely have the power to shape the solutions, teachers—who most intimately understand the challenges students face— felt seen and trusted with the agency to create change.

If we want schools to prepare young people for both work and life, we can’t design the future of education for them. We have to design it with them. That means working alongside young people, their teachers, their families, and others who know their lives best. These are the communities that yes—want young people to leave school ready for good jobs— but also ready to build healthy relationships, care for their communities, and navigate an ever-changing, complex world.

Schools are the foundation of our communities. We can’t lose the plot on that."]]></description>
<dc:subject>dianed'costa schools eduction ideo design 2025 schooling care caring community learning howwelearn collaboration individualism personalization work production productivity lcproject openstudioproject life living wellbeing behavior disconnection burnout academics well-being</dc:subject>
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<item rdf:about="https://www.momaps1.org/en/programs/615-homeroom-la-escuela">
    <title>Homeroom: LA ESCUELA___ - MoMA PS1</title>
    <dc:date>2025-09-04T06:22:00+00:00</dc:date>
    <link>https://www.momaps1.org/en/programs/615-homeroom-la-escuela</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In their first project in the US, artist-run platform LA ESCUELA___ will initiate a collective learning project in Homeroom this fall charting pedagogies from across Latin America. Bridging their work across South America and the Caribbean with diasporic communities in Queens and throughout New York, LA ESCUELA___ foregrounds education as an artistic practice and invite socially engaged artists to participate in residencies and activations. Their project at PS1 includes contributions by Laura Anderson Barbata, Lizania Cruz, and Studio Lenca. A centerpiece of the exhibition is artist Miguel Braceli’s large chalkboard stage, which serves as a flexible platform for gathering, programming, and resource sharing. The exhibition also highlights a visual archive mapping artist-run practices and collective-based educational models that have inspired and collaborated with the organization.

LA ESCUELA___ (est. 2022) is a project for experimental learning and collective making in public spaces that partners with universities, institutions, and communities to create formative projects in public spaces throughout Latin America. As a platform for free and open access education, LA ESCUELA___ develops on-site and on-line projects to create new forms of knowledge. With a translocal network of artists and educators, it foregrounds social action by mapping the legacies of artist-run spaces and collective pedagogical models in Latin America and placing them in a global context. LA ESCUELA___ is founded by artist Miguel Braceli and the international foundation Siemens Stiftung."]]></description>
<dc:subject>latinamerica us southamerica caribbean education ps1 lauraandersonbarbata lizaniacruz studiolenca miguelbraceli collectives experimental learning howwelearn lcproject openstudioproject community publicspaces homeroom elenaketelsengonzález madelinemurphyturner pedagogy openaccess knowledge</dc:subject>
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<item rdf:about="https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good">
    <title>Interdependence - Gabriela Jauregui - Elective Affinities for the Common Good</title>
    <dc:date>2025-07-18T04:27:06+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Insurgentes subway station is one of the main arteries in the beating heart of Mexico City. Located in the Juarez neighborhood, every month, one million people use this subway station as part of their commutes. It is where an epic battle between punks and emos took place in the early 2000s.

It is one of the neighborhoods that is most affected by earthquakes. It is where the local shoe-shine guy, the lady who delivers tupperware meals to office workers, and the man who sits as a security guard in one of the many parking lots, come to work after hours-long commutes, along with thousands of others every day. It is also home to Aeromoto, or “airquake,” named after the earthquakes that shake the city, but also avant-garde Chilean poet Vicente Huidobro’s prose poem “Sky-Quake” (1931). Aeromoto started off as an idea: a lending library in a newsstand, where people who work in the neighborhood could come off the subway, borrow a book for a few hours, read it during their workday, and return it on their way back home.

But the amount of bureaucracy to open a newsstand in Mexico is staggering. So instead, Aeromoto began in 2014 as a storefront on the aptly-named Calle Venecia, which floods during the rainy season. The space initially housed the one thousand books that Maru Calva, Mauricio Marcín, Macarena Hernández, and Jerónimo Rüedi had in their shared archive. Most were about or related to contemporary art, because that’s what they were all interested in or working on. Throughout the years, however, the collection has grown. But it all started with a revolutionary question: “Why should all these books be sitting on shelves in my house if I don’t even believe in private property?” Mauricio continued: “It’s not like they’re dead books. They’re just not being used, read, opened.” Everyone else agreed: it made no sense.

To begin, Maru, Mauricio, Macarena, and Jerónimo pooled some money together and took a carpentry workshop to build shelves. The spirit was very DIY during a moment when many art spaces were sprouting around the city, so Aeromoto inserted itself in a web of affinities and interdependencies. “Slowly, our collection started growing. This was a time when many small presses were starting in the city, and we became a house for ‘books without ISBNs,’ as we called them,” recalls Macarena. “It was really great to be able to buy books that I wouldn’t have bought for myself, like some really obscure performance art books, for example. I felt like a real librarian then,” adds Maru. Most of the art schools and schools in general were lacking art-related books, so they thought this could become a resource for students as well. “We wanted all the neighbors to come. We wanted it to be a neighborhood thing,” says Maru. But when they had their official opening, only one neighbor came. “We even had free mezcal and many flavors of water,” Maru laughs.

Calle Venecia was a universe unto its own. There was a used-clothing store, so many young people would walk by. Mauricio remembers, “Silvia, our front-door neighbor was a Mexican Muslim who used to bake and sell fresh pita bread for a living. She later converted to Christianity.” “The one neighbor who came to our grand opening was an old painter. He came because he thought we could sell his paintings,” adds Maru. They all laugh as they share these stories. Their nemesis back then was Araceli, the next-door neighbor who wanted to park her car and not have people reading books and hanging out in a makeshift garden in the street. But Aeromoto wanted to occupy public space, “to practice the commons.” “We were anti-object. We didn’t want to become an exhibition space. We only wanted books, printed matter. And nothing was for sale, ever,” explains Mauricio. Not even the enthusiastic neighbor’s paintings.

Friendship has been ever-present in everything that happens at Aeromoto. It all started with a group of friends, and the events were organized from an ever-expanding circle of friendships. Hanging out and making it a space for pleasure is at the core of Aeromoto. Maru, Mauricio, Macarena, and Jerónimo dedicate special care to the relationships that come from affection, and the affection that flows from new friendships. Aeromoto is also a space for play, expanding the definition of what a public art library can be and what our relationship with books can mean. Humor and spontaneity have guided them through years of fluctuating sources of income. Aeromoto has been self-funded, sought public grants, asked people to pay around fifteen dollars to become members for a year (half if you’re a student), and sold old donated atlases at the neighborhood second-hand bookstore to pay for office supplies. Everything is creatively solved. If they need pots for plants, they invite a friend to do a pottery workshop. The reading garden was made together with about three dozen people, old and young. From the very beginning, the idea was to make Aeromoto a space to do things that didn’t rely on buying things. “We also wanted to celebrate the handmade, different crafts, and making things ourselves with what’s at hand,” Maru explains.

Slowly, Aeromoto became an oasis in the busy neighborhood. When I first visited back in 2015, the first thing I noticed was the plants on the street that delineated a small perimeter (where, if one were like Araceli, one might be tempted to park one’s car), and a few chairs to sit in. At some point, someone took Aeromoto’s founding disdain for private property to heart and “liberated” their garden chairs. But even misfortune was taken in stride and with good humor. More chairs soon reappeared. The whole thing felt like a situationist prank, a haven for idleness and leisure.

Back then, the space was very unusual. Although plants and chairs outside have now become common in Mexico City after the pandemic, they work in the opposite way as Aeromoto’s reading garden: restaurants have privatized public space, while Aeromoto morphed and occupied it. That first day I visited, I entered the garage-like space and noticed how cozy it felt with large reading tables, ideal for communal activities. There were posters on the walls, including one that stated “At Aeromoto nothing is for sale.” Another one read “Something wonderful is happening.” And books were everywhere. It was my idea of paradise. I ended up there through friendship: a friend of mine invited me to curate a selection of books from their collection, and also to bring some books of my own to lend. So I walked in, carrying a heavy load of books, some of which would stay there as donations, and others which would be a part of that month’s “book table” selection. I was part of an independent collective press, and thanks to that invitation, Aeromoto now has a complete collection of all of our books.

They invited all kinds of people to do things, and all sorts of people came and proposed events. During “Infinite Pedagogies,” people would choose indispensable books for the library to buy with grant money. This was so moving to artist Abraham Cruzvillegas that he decided to sponsor a whole new “infinite pedagogy” section. In the stridentist trunk series, a library-goer and enthusiast who was an expert on the stridentist movement brought books, masks (now property of the Reina Sofía Museum), and stridentist paraphernalia. During “ethylic poetry” sessions, people would read poetry and get wasted on themed alcoholic beverages (caipirinhas while reading Brazilian concrete poetry; absinthe while reading the French accursed poets, and so on). Events called “Beauty Salons” featured people reading each other’s poetry in translation (now memorialized in a recently published bilingual anthology). There were also performances, printing workshops, presentations, punk concerts, experimental drawing sessions based on books from the collection, reading groups, study groups, activist circles, etc. There was anything and everything that would expand the definition of a public library.

Aeromoto has also changed and adapted over the years as its founders changed and their interests expanded. When Mau, Maru, and Macarena had children, they felt like they didn’t want to give up the time they have spent building community. So, their friend Paola Santoscoy, who was also a new mother, curated a series of “books to be read while breastfeeding”: books that are small and light enough to hold with one hand. “Aeromoto was a comfort for me as a new mom,” continues Maru. Everyone nods in agreement as they share how the space shifted, matured, and grew with them. There was mask-making for carnival and workshops for little ones. Pleasure and play continue to be the heart of the space. And so, no matter if it was twelve in the afternoon or late at night, there was always something going on. There was always coffee, tea, or a cold beer. There was always the possibility of an encounter.

At one point, the four friends decided they should hold a contest for Aeromoto to have a flag, to serve as a publicly visible indicator that “something is happening.” They held an open call, and the winning proposal was a koinobori, a flag shaped like a blue koi fish. The flag flew for a short time before the pandemic hit, during which time Aeromoto, like too many spaces, had to move out. As with every other time that things got hard and everyone was about to give up, someone would show up either with enough money or a new idea to keep things going. This time, Carolina Coppel and Catalina Urtubey, two friends and patrons, proposed to move Aeromoto to the second story of a seventeenth-century house right next to the Templo Mayor pyramid and museum on Seminario Street, in the heart of downtown Mexico City.

Anyone who has ever had to move with books knows what a pain this can be, but moving wasn’t as terrifying as expected because one of Aeromoto’s favorite activities is cataloging. The four friends came up with crazy categories like “books about books,” “Los claveles” (which plays on the word “clavel,” a pun on carnations but also people who are very deep into something), “water-damaged books,” and “revolutionaries,” to mention a few.

If there were already ghosts moving books out of their shelves and having fun at Aeromoto back on Venecia Street, their new location would prove to be an ideal haunt for the undead, the alive, and all kinds of spirits—for a couple of years anyway, before the rent would go up and Aeromoto would once again have to move, now to the San Miguel Chapultepec neighborhood, near the park. The book collection patiently awaits cataloging and reshelving at an artist-run space called Castillo de Chapultepec, which is run by longtime Aeromoto friends Willy González and Rodrigo Escandón. “Aeromoto is like quicksilver,” the four founders say. It can separate into little parts or join back together into a whole. And so once more, friendship is what binds Aeromoto together, keeps it afloat, and continuing to shake the Mexico City airwaves."]]></description>
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    <title>12.03.24 The Diane Lewis Student Lecture Series | Pelin Tan - YouTube</title>
    <dc:date>2025-05-28T18:00:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=e3Iwu0CjmnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Collective assemblies and pedagogies of commons are about searching for the spatial politics of horizontalities that lead us (practitioners in the thresholds) to parameters of scales and slow-violence of sociopolitical conditions of infrastructures. Any scale of infrastructures, from a refugee tent to a community garden to an alternative gathering of pedagogies of unlearning, leads to the question of the spatial justice of where, in which condition, and with whom. Practitioners and educators in between architecture, geography, urbanism, and art create a critical discourse and methodology through commoning in diverse trans-localities. Tan suggests transforming assemblies to transversal method-based alliances; and developing urgent pedagogies in architecture and spatial practices with diverse horizontal alliances. Threshold infrastructure is the gathering, the base of alliances that reactivates the threshold, the in-betweens, and the collective survival. Alternative collectively initiated pedagogical platforms and assemblies are emancipative forms of solidarity, care, resistance, and knowledge production. What are the urgencies of architecture pedagogies in contested territories? How can pedagogies reveal and bring about ways of unlearning and undoing? Can alternative approaches in education and research reach beyond established institutional structures and through transversal and collective approaches? Do they make a difference in transforming knowledge, and how do they shape the architectural practice of the present?

Tan will present pedagogical design and art projects on critical spatial practices and will introduce the Urgent Pedagogies project (IASPIS). A Q&A session moderated by Jayne Miller will follow the presentation.

Professor Pelin Tan, P.hD., is the 6th recipient of the Keith Haring Fellowship of Art and Activism at Bard College (2019). She is a Turkish art historian and sociologist, currently a professor at the Faculty of Fine Arts, University of Batman based in Mardin, Turkey. She is a senior research fellow of the Center for Arts, Design and Social Research in Boston. For more than two decades, she has focused on urban and territorial conflict, commons, labor conditions, alternative pedagogies, and methodologies in art and architecture. She was a lead author of the Urban Society report by IPSP (Cambridge Univ. Press, 2018). She contributed to several publications such as "Climates: Architecture and The Planetary Imaginary" (Columbia Univ., 2017), "Refugee Heritage" (2021), "Radical Pedagogies" (MIT Press, 2022), "Designing Modernity: Architecture in the Arab World, 1945–1973" (Jovis, 2021), "From Public to Commons (Routledge, 2023), Agonistic Assemblies" (Sternberg/MIT Press, 2024). 

Tan is an editor of the i Press established by architect Mary Otis Stevens based in Cambridge, Massachusetts, and supported by the Graham Foundation (2023). Her forthcoming books include the following: "Forms of Non-Belonging" (E-flux Books, Sternberg/MIT Press, 2025), and "Threshold Architecture" (DPR-Barcelona, 2025).

She curated Gardentopia/Matera ECC 2019, was associate curator of the first Istanbul Design Biennial Adhocracy (2012), and co-curator of Urgent Pedagogies (IASPIS). Tan was a Postdoc at MIT (2011), a fellow of The Japan Foundation (2012) and Hong Kong Design Trust (2016), DAAD (2006-2007), and others. She co-directed several short films with artist Anton Vidokle and got the Sharjah Film Prize (2020) for their last film: "Gılgamesh: She, Who Saw the Deep" (2022). Her current short documentary "Landscapes as Archives" about the production of architecture in Palestine is on view at the Qattan Foundation, Ramallah (2023)."]]></description>
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    <title>The Anarchist Imaginary: Nicolas de Warren on Glissant, Levinas, and a New Radical Ethics - YouTube</title>
    <dc:date>2025-03-25T18:54:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fsXD5h88_xo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are joined by philosopher Nicolas de Warren to explore his concept of the anarchist imaginary, drawn from his essay "Anarchism, the Shock from Elsewhere: Glissant and Levinas". Together, we unpack how anarchism operates not merely as a political program, but as an ethical and temporal force—a heterotopia that resists monolingualism, sovereign authority, and the foreclosure of otherness. Nicholas discusses the right to opacity, indirect reciprocity, and an anarchist ethics of reading that dismantles institutional power while cultivating new forms of literacy and solidarity. Drawing on the work of Glissant, Levinas, Derrida, and others, this conversation maps a terrain where impossibility becomes the site of political and philosophical renewal. We also reflect on the prospects for anarchist institutions, public pedagogy, and the future of thought in an age of digital unthinking."]]></description>
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    <title>Workshop dream - YouTube</title>
    <dc:date>2025-02-23T19:21:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The wonderful Polish artist Karolina Wojtas on her experience with The Little Brown Mushroom Workshop. "]]></description>
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<item rdf:about="https://www.e-flux.com/architecture/loudreading/635532/editorial/">
    <title>Loudreading - Nathalie Frankowski, Cruz Garcia, and e-flux Architecture - Editorial</title>
    <dc:date>2024-10-21T17:38:44+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/loudreading/635532/editorial/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loudreading is a collaboration between e-flux Architecture, WAI Architecture Think Tank, and Loudreaders Trade School supported by the Mellon Foundation, re:arc institute, the Graham Foundation, Producer Hub, Iowa State University, GSA Johannesburg, Universidad de Puerto Rico–Rio Piedras, and the inaugural ACSA Fellowship to Advance Equity in Architecture. It features contributions by Dorraine Duncan and Jhordan Channer, Nadia Huggins, Jason Fitzroy Jeffers, Isabelle A. Jolicoeur and Sébastien Jean Simon, Marakianí Olivieri, Post-Novis, Luis Othoniel Rosa, Julio Ramos, and Roque Raquel Salas Rivera.

Under the colonial construction of time, the Caribbean is now 532 years into loudreading planetary futures. Here, radical struggles for emancipation, solidarity, and worldmaking subsist despite the planetary scale destruction and repression born out of its tropical plantations. From this mountain range/archipelago, the imperial blueprint of capitalist spoliation has spread across the rest of the planet in the form of military occupations, colonial debt, and planned precarity, and in the technologies of racialization, surveillance, incarceration, and policing.

To acknowledge the Caribbean is to face the unfolding histories of Haiti (Ayiti), of Vieques, of Barbados (Ichirouganaim), of St. Vincent (Youloumain), of Guatemala and Belize; of the expanse of the Black Atlantic; and of each continental land fed by the rivers/veins that connect the sea to deep inland Abya Yala. To understand the history of this region, these landscapes and peoples, is to consider its connections to Palestine, Congo, Sudan, South Africa, Kenya, Kanaky, Algeria, Brazil, Hawai’i, and other topographies of solidarity and resistance.

Born in the capitalist stronghold of tobacco factories, where formerly enslaved and low-wage workers destemmed tobacco leaves and rolled cigars, the practice of loudreading establishes a framework for sharing anti-capitalist and anti-colonial imaginaries. The traveling performers that read out loud literary works of utopian fiction and theories of workers’ emancipation laid the groundwork for the contemporary practice of loudreading Frantz Fanon, Aimé Césaire, Sylvia Wynter, Mahmoud Darwish, Martin Sostre, and Luisa Capetillo into a world torn between the fascist necropolitics of broadcasted genocides and the anti-racist, anti-colonialist movements that chant “no one is free until we are all free.”

In this global panorama, the shapeshifting Caribbean remains—at least in discussions of architecture and spatial practices, with its biennales, festivals, and events—an overlooked, fetishized, and misunderstood region of landscapes and peoples. The recipient of over 40% of the enslaved Africans kidnapped and shipped to Abya Yala, the area is home to the oldest colony (Puerto Rico, with over 531 years of occupation), the first British plantation (Barbados), and a blueprint for radical liberation by the formerly enslaved that was collectively punished with (post-)colonial debt (Haiti).

The Caribbean presents a case study of the cruelties and insidiousness of empire, as well as of the imagination and endurance of half a millennium of anticolonial struggle against the terraforming and earth-spoliating forces of colonialism. Ignoring the rights to reparations, the unscrupulous rule of colonizing powers—including by Spain, France, the United Kingdom, the Netherlands, Portugal, Denmark, Sweden, Germany, and, more recently, the USA—set in place layers of legalistic, linguistic, and mobility barriers that try to fragment the time and space of any form of collective sovereignty in the Caribbean. Against this imposed bureaucratic, political, and economic alienation, a counter-current of critical spatial practices is manifested in poetry, film, photography, agriculture, science fiction, design, and activism that defy discipline and place, exploring ongoing diasporic, Afro-Indigenous, transfeminist, and anti-capitalist histories: narratives of the now and tomorrow.

These radical forms of worldmaking are produced in the multiple creoles spoken, thought, and loudread; in the Afro-Indigenous practices that transmute and refuse to die; in the planetary influence of the Caribbean; and in the combination of ancestral knowledges with evolving technologies that are taken from the grip of the death-machine that is empire. Outside of the tobacco factory, the practice of loudreading becomes mysterious, submarine, untranslatable, confrontational, abolitionist, imaginative, solidary, and subversive. As in the beginning of the twentieth century, loudreading renders obsolete the colonial school as a source of centralized, hierarchical, Eurocentric knowledge. Here, the students are the teachers."]]></description>
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<item rdf:about="https://redlabopedagogique.tumblr.com/">
    <title>La Petite école</title>
    <dc:date>2024-10-18T22:51:35+00:00</dc:date>
    <link>https://redlabopedagogique.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["La Petite école est un lieu de transition vers l'école pour les enfants de l'exil, jamais ou peu scolarisés. Située dans une ancienne boutique des Marolles, elle offre un espace discret et accueillant. Elle propose une première expérience de l'école et de ses codes. Ce dispositif, à la fois souple et structuré, permet aux enfants d'être disponibles aux apprentissages et d'entamer un véritable projet scolaire.

Pour tout don compte KBC Pro:
BE64 7350 4915 6352

Contact:
Marie Pierrard
0479801456
139, BLVD du Midi 1000
Bruxelles

Email:
lapetiteecolebxl@gmail.com  "]]></description>
<dc:subject>children migration immigrants art lcproject openstudioproject refugees schools</dc:subject>
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<item rdf:about="https://waithinktank.com/">
    <title>WAI Think Tank</title>
    <dc:date>2024-10-18T20:16:35+00:00</dc:date>
    <link>https://waithinktank.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[text below from: https://waithinktank.com/About-WAI-Think-Tank ]

"WAI Architecture Think Tank is a planetary studio practicing by questioning the political, historical, and material legacy and imperatives of architecture and urbanism through a panoramic and critical approach. Founded in Brussels during the financial crisis of 2008 by Puerto Rican architect, artist, curator, educator, author and theorist Cruz Garcia and French architect, artist, curator, educator, author and poet, Nathalie Frankowski, WAI is one of their several platforms of public engagement that include Beijing-based anti-profit art space Intelligentsia Gallery, and the free and alternative education platform and trade-school Loudreaders.

Recent projects include the shortlisted design of the National Centre for Contemporary Arts (NCCA) in Moscow, the design of Osiri Innovation Learning Center, an invited competition for a museum in Suzhou, and the design of the Housetelier in Beijing, as well as the design of several educational, cultural and exhibition spaces, and the conception of architectural playgrounds.

As the founding curators of Intelligentsia Gallery智先画廊 in Beijing, Garcia and Frankowski have curated more than sixty group exhibitions dealing with a wide range of topics on the legacy of utopian projects, aesthetic philosophy, the politics of non-objectivity and representation, the cartographic and narrative politics of photography and moving images, the imperatives of contemporary media and technology, Object Oriented Ontology (OOO), semiotics, ecology, queer theory, and alternative publications and manifestoes.

Based on the emancipating and persecuted alternative practice of education performed by lectores like Luisa Capetillo in the tobacco factories in the Caribbean, Loudreaders is an open pedagogical platform and free trade school that engages with architectural education as a form of mutual aid and critical solidarity in the age of Covid-19.

In search of critical forms of architectural pedagogy, Garcia and Frankowski are deeply invested in the development of new curricula and pedagogical experiments searching for diverse forms of public engagement with architecture, as well as a decolonization and anti-racist reconstruction of the role of architecture in the construction of new worlds. Garcia and Frankowski develop and frequently offer international art and architecture workshops for diverse participants, spanning from children, to college students working across different fields and the general public. Currently they are Associate Professors at the School of Architecture at Iowa State University, Visiting Lecturers at the University of Illinois Urbana-Champaign, and faculty of the Masters of Science in Advanced Architecture Design at Columbia University GSAPP. Garcia and Frankowski are former Assistant Professors at the School of Architecture + Design at Virginia Polytechnic and State University (Virginia Tech) Ann-Kalla Visiting Professors at Carnegie Mellon University (2019-20), Hyde Chairs of Excellence in Architecture at the University of Nebraska-Lincoln (2017-19) and Visiting Teaching Fellows at The School of Architecture at Taliesin, institutions where they have promoted the creation of open alternative platforms, student-led publications, symposia and curatorial programs including Loudreaders, WASH Magazine (Taliesin), Fold (UNL), and POST-NOVIS."]]></description>
<dc:subject>wai waithinktank loudreaders cruzgarcia nathaliefrankowski architecture art emancipation education luisacapetillo puertorico pedagogy lcproject openstudioproject altgdp</dc:subject>
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<item rdf:about="https://loudreaders.com/">
    <title>Loudreaders Trade School</title>
    <dc:date>2024-10-18T19:59:48+00:00</dc:date>
    <link>https://loudreaders.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["About LOUDREADERS

LOUDREADERS is a platform of public vocational education of architecture, urbanism, and related fields.  Loudreaders produces, designs, and supports a public literacy of the built and destroyed environment by means of online and physical exhibitions, publications, lectures, symposia, workshops, events, installations and spaces.

Since its foundation in 2020, LOUDREADERS has provided over 70 lectures and workshops and has produced several publications and exhibitions both digital and physical (available on the main page).

Publications include the free edition of ‘A Manual of Anti-Racist Architecture Education’ and ‘Un Manual de Educacion Antirracista en Arquitectura’, both accessible here. To order the publications go here. 

To participate or collaborate with LOUDREADERS please write to contact@loudreaders.com.

To enroll in the summer sessions of LOUDREADERS including workshops, talks, and discussions apply here.

The full Calendar of upcoming events are here. 

Online recordings of the lectures and detailed workshops with supporting material can be found numbered on loudreaders.com main page.

LOUDREADERS is committed to creating a program that is accessible and free.

LOUDREADERS is a registered 501c3 Non-Profit supported by The Mellon Foundation and re:arc institute. LOUDREADERS is also fiscally sponsored by The Producer Hub via The Tank. To support LOUDREADERS go here. 

Background

Loudreaders borrows its name from an alternative practice of education in the turn of the 19th and beginning of the 20th Century created as tobacco workers engaging in the monotonous labor of rolling cigars hired one of their own who knew how to read, to read for them during the entire work-day. As the practice of loud-reading grew, the lectores (loud-readers) will become traveling performers with an international audience, creating networks of solidarity all around the Caribbean, as well as a massive, shared, and open access oral library to workers who were denied any other means of formal education.

As the practice of the loudreading shifted from classics of ‘Western’ literature to philosophy and literature that shared an emancipatory, decolonial, and anti-capitalist imagination by organizers like feminist, anarcho-syndicalist and utopian author Luisa Capetillo, new networks of solidarity were forged among workers as they sought collective liberation.

Since spatial practices take numerous forms that shape and reshape the Caribbean, LOUDREADERS trade school considers the broad influence and possibilities of architecture and related fields in understanding the histories of the region while fomenting the construction of critical visions of the future.  

Through the study of the ways in which emancipatory spatial practices are forged in the Caribbean, and around the world, LOUDREADERS asks how can these models of spatial and land thinking help generate alternatives to the ways in which we engage with urgent planetary questions.

LOUDREADERS becomes a planetary laboratory for emancipatory imaginaries forged in the Caribbean, as the brutality of extraction and exploitation that was the blueprint of the plantation (and its economies) has spilled on the rest of the world like organic matter.

In the way that the Caribbean has historically been the testbed for the conditions of a warming world where the conditions of the tropics cannot be contained by imaginary boundaries, LOUDREADERS proposes a laboratory to think collectively about the future of social and ecological justice, reparations, repatriations, and reconstructions. Considering the Caribbean’s geopolitical, linguistic, historical pluriversality, LOUDREADERS operates as an itinerant institution that fosters the free exchange of critical spatial knowledge through networks of intellectual solidarity.

LOUDREADERS ethos is that ‘other worlds are possible.’

Luisa Capetillo: LOUDREADER

Luisa Capetillo (b. 1879, Arecibo) was a worker, writer, labor organizer, and Loudreader. In a time when Loudreading was mostly performed by men, Capetillo—who had been arrested in La Habana for wearing a shirt, tie, pants, and short brim hat—offers a model for contemporary forms of Loudreading. In Puerto Rico, Tampa, and New York, Capetillo will Loudread texts by Kropotkin, Bakunin, Malatesta, while serving as a syndicalist representative for the workers and creating and distributing emancipatory propaganda.

In 1909 she publishes La Mujer (Women), and the following year publishes La Humanidad en el futuro (Humanity in the Future), a utopian tale centered around a central strike. She writes about freedom, sexual education, and the rights of men and women.

Notes Araceli Tinajero, El lector de tabaquería: historia de una tradición cubana , (Madrid: Editorial Verbum, 2007). 

Luis Othoniel Rosa, The Tobacco Intergalactic School (Postnovis Branch in the Americas)’ Feb. 1st, 2019 – Feb. 1st, 2031"]]></description>
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<item rdf:about="https://www.e-flux.com/announcements/634338/machines-and-ideas-to-postpone-the-end-of-the-world/">
    <title>Machines…and Ideas to Postpone the End of the World - Announcements - e-flux</title>
    <dc:date>2024-10-18T19:56:43+00:00</dc:date>
    <link>https://www.e-flux.com/announcements/634338/machines-and-ideas-to-postpone-the-end-of-the-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["'Machines…and Ideas to Postpone the End of the World is an exhibition and event series interrogating ideas, structures, and devices of solidarity, curiosity, imagination, futurism, resistance, embodiment, and storytelling in an effort to challenge the architectures and infrastructures of colonial staging, systematic repression, and technological destruction.

In Ideas to Postpone the End of the World, Brazilian philosopher and Indigenous activist Aílton Krenak asks why have we insisted so hard for so long on belonging to what he refers to as the excluding Humanity Club—of modernization, westernization, universalization, pauperization, and destruction—which, most of the time, just limits our capacity for invention, creation, existence, and liberty. While the great majority of the world’s population has been subjugated to living in an enforced civilizing abstraction that suppresses the plurality of forms of life, other imaginaries of spiraling times, and anticolonial futurisms allow cultures and peoples to inhabit a cosmovision beyond the destructive path of capitalism.

Machines…and Ideas to postpone the End of the World continues the questions asked in the exhibitions and events The Earth is a Tree Full of Poems…Like Mushrooms of the Air (2023), Form Land Grab to LandBack (2023), Unpayable Debts (2022), and The Planetary Wretched in a Room of Loudreaders (2021).  Presented at the Gallery of the College of Design of Iowa State University, the exhibition includes interactive installations, short stories, images, structures, films, narratives by:

Dan Roche, Andrew Santa Lucia, and Lane Rick, Jerome Haferd Studio with Laura Gadson, Nora Akawi, Eduardo Rega Calvo, Daniel Ruiz, and Rami Nakhleh, Post-Novis (Christopher Rey Perez, Rose Florian, Luis Othoniel Rosa, Holly Craig, Ophelia S. Chan, Hilary Weise, Coco Allred, WAI Think Tank / Cruz Garcia, Nathalie Frankowski, and Ema Yuizarix), Traumnovelle, Ritwik Banerji, Kristen Mimms Scavnicky, Evan Hume, Johnny DiBlasi, Peter Zuroweste; students from the earth is a tree full of poems (dsn-546): Sophi Allen, Muhammet Arslan, Alexis Banks, Cynthia Cai, Alexis Clark, Finn Digmar, Andrea Gutierrez, Sophia Maguiña, Saad Ouazzani Taibi, Donoval Sandoval, Allison True, Jaelyn Waddle, Nan Xiao, Hanyuan Zhang, Timothy Zhang, Ziheng Zhou; and students from LIO Lab (Lima / Iowa Operation): A South / North Design-Build Studio: Gabriella Saholt, Britney Brcka, Elizabeth Dougherty, Travis Ngo, Ethan Sall, Ashley Boun

Events include:
Media + Narratives: November 17
From Land Grab to LandBack/LandBack Landscape Poems book presentation: November 21

The LOUDREADER Journal call for contributions
In anticipation of the 2025 iteration of LOUDREADERS Trade School, The LOUDREADER invites submissions that explore emancipatory imaginaries at the intersection of race, class, gender, ecology, and technology. 

The LOUDREADER is a new digital and print journal published biannually by Loudreaders Trade School. In the form of an antidisciplinary and multilingual publication, The LOUDREADER considers the Caribbean’s geopolitical, linguistic, historical pluriversality as it documents, disseminates, and thinks collectively about the future of social and ecological justice, reparations, rematriations, reconstructions, while accounting for incompatibilities, contradictions, ironies, and strategies of subversion and reinvention.  The LOUDREADER imagines the “becoming Caribbean of the world,” as the brutality of extraction and exploitation, that was the blueprint of the plantation (and its economies), has spilled out onto the rest of the world like organic matter.

The LOUDREADER is…
Anti-disciplinary  and open to contributions form the humanities, law, social sciences, arts, architecture, urbanism, agroecology, and design… Multilingual to reflect the diversity of histories in the Caribbean, and welcomes submissions in creole, Spanish, English, French… Emancipatory and interested in narratives of liberation, and critical projects that challenge the status quo.  

Submission guidelines
Articles and manifestos: 500–5,000 words / Creative works: Poetry, short fiction, visual art, comic strips, and other creative forms.

All submissions must be accompanied by a brief bio of the author(s). Submission deadline: January 30, 2025. Publication date: Summer 2025 During LOUDREADERS Trade School in Puerto Rico.

How to submit: Please submit your contributions electronically to contact [​at​] loudreaders.com as a Word document or PDF attachment. For more information, please visit our website."]]></description>
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<item rdf:about="https://psyche.co/ideas/place-authenticity-is-an-important-overlooked-part-of-life">
    <title>‘Place authenticity’ is an important, overlooked part of life | Psyche Ideas</title>
    <dc:date>2024-10-10T21:08:09+00:00</dc:date>
    <link>https://psyche.co/ideas/place-authenticity-is-an-important-overlooked-part-of-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From indie bookshops to artisan cafes, spending time in unique, characterful places can enrich your own sense of self"

...

"Defining place authenticity is not just an obscure academic question. Authentic places that maintain their historical and cultural integrity serve as anchors of identity, offering us a sense of belonging, stability and continuity. They act as safe havens from the increasingly standardised and commercialised environments that are widespread in modern society, providing refuge and a reminder of individuality and uniqueness amid the uniformity of everyday life. What’s more, place authenticity matters for personal authenticity – the feeling of being true to yourself that is so sought after amid the ever-changing dynamics of modern life.

In our research, when we asked our participants to write about a time they’d felt connected to a specific place, we found that not only did they feel that the place in their recollection was authentic, they also felt more personally authentic (albeit to a lesser extent). It’s as if the positive feeling of being connected to a place spilled over into how participants felt about themselves. These effects worked both ways: when we prompted participants to recall a time when they felt connected to themselves, they described feeling more personally authentic and, in turn, this personal authenticity increased their rating of the authenticity of the place they were in at the time.

This bidirectional relationship between place and personal authenticity is not only supported by our findings but also resonates with broader philosophical insights and everyday experiences. The philosopher Martin Heidegger argued that true ‘dwelling’ involves more than physical habitation; it requires a meaningful connection to our surroundings that fosters a sense of being truly ‘at home’ in the world. Similarly, the concept of topophilia, proposed by the geographer Yi-Fu Tuan, speaks to the affective bond between people and places, suggesting that environments rich in history, culture and sensory experiences enhance personal wellbeing and identity. This interdependence is also evident in contemporary trends, with many people expressing a preference for authentic experiences that resonate with their deeper values and emotions – such as visiting locally owned shops or historic neighbourhoods rather than over-standardised, commercialised spaces."

...

"The notion of place authenticity is also relevant to how we go about our lives as individuals. As Tuan highlighted with his concept of topophilia, when you have a love for certain aspects of your environment, it can give you a strong sense of place and of cultural identity. As such, loving where you live, work and play can deeply affect your emotional and psychological wellbeing. By seeking out and creating authentic places, you can enrich your life with a sense of rootedness and genuine connection. Look for environments that offer deep, lasting ties to their community and history. Visit local cafés, independent bookstores and historic neighbourhoods where the essence of the place is preserved and celebrated. Engage with spaces that have a strong sense of community and cultural significance. I don’t believe it is an exaggeration to say that by spending time in places that resonate with your values and emotions, you can experience a more meaningful and fulfilling life.

I’ve experienced the powerful effects of place authenticity firsthand. I often find myself drawn to a small, independent coffee shop near my home, which has the aroma of freshly brewed coffee throughout the shop, offers the opportunity to work quietly, and the chance to buy goods from local artisans and vendors. It’s a place where the baristas know my name and where conversations flow easily among strangers. This space feels authentic to me in a way that a chain coffee shop never could – it’s filled with a unique character and a sense of community that resonates with my values of connection and creativity. Spending time there has become a ritual that grounds me and helps me feel more centred, reminding me of who I am beyond the busyness of daily life."]]></description>
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<item rdf:about="https://www.schoolofattention.org/">
    <title>The Strother School of Radical Attention</title>
    <dc:date>2024-06-10T22:32:22+00:00</dc:date>
    <link>https://www.schoolofattention.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Strother School of Radical Attention is a non-profit experimental institution of education and collaboration dedicated to cultivating radical attention as a foundation of human well-being (and well-being beyond the human, too). We call this ATTENTION ACTIVISM. Through diverse forms of STUDY — including creative projects, courses on the history, philosophy, and politics of attention, and experiential Attention Lab workshops — we fashion and collectively implement tools to reclaim human attention, and thereby protect and cultivate the many goods of shared life that it produces.

Our Mission

Through teaching, learning, public programs, and experimental creative projects, The Matthew Strother School of Attention aims to draw attention to attention: to stimulate interest in, and research on attention; to nurture communities of commitment to the attentive life, and to model forms of collective inquiry that advance the attentional flourishing of human beings, human societies, and our shared planet.

Our Vision

A twenty-first century in which communities are equipped with the methods of critical inquiry, conceptual understanding, and practical tools necessary to resist the non-consensual extraction of our collective attention, to reclaim and deepen this precious faculty, and thereby create a more free, more flourishing, and more compassionate world."

...

"Our Story

The School of Radical Attention was created by the Friends of Attention, an informal coalition of (real) friends that formed in the wake of the 2018 São Paulo Biennial. The common commitment of the Friends is the work of ATTENTION ACTIVISM: that is, the promotion of human flourishing in direct response to the commodification of human attention. For five years, the Friends have written books, made artworks, and brought people together — most notably through the Friends' monthly First Friday gatherings.

The Friends have also convened each year since 2019 for a weeklong, in-person, “Politics of Attention” summer school.

In March of 2022, the Friends launched the Attention Labs, an experiential workshop curriculum designed to reconnect participants to the power of their radical attention. In the program's first year, the Attention Labs received hundreds of participants across the United States, and internationally, in Spain and Brazil.

The Strother School is named after our friend, Matthew Strother (1987-2023), one of the inaugural organizers of the Friends of Attention, and a dearly beloved collaborator in our community. Despite his cancer diagnosis, Matthew bravely persisted in our work for four incredible years, helping draft the Twelve Theses of Attention while undergoing chemotherapy, and helping launch our Attention Lab initiatives while in radiation treatment. We lost him in March of this year, and his inspiration stands over our mission: a better world through better attention – true attention, free attention."

[See also:

https://vimeo.com/showcase/10270306
https://vimeo.com/friendsofattention
https://www.instagram.com/schoolofattention/ ]]]></description>
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<item rdf:about="https://www.nytimes.com/2024/05/31/opinion/ezra-klein-podcast-d-graham-burnett.html">
    <title>Opinion | Your Mind Is Being Fracked - The New York Times</title>
    <dc:date>2024-06-04T16:18:03+00:00</dc:date>
    <link>https://www.nytimes.com/2024/05/31/opinion/ezra-klein-podcast-d-graham-burnett.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[transcript:
https://www.nytimes.com/2024/05/31/podcasts/transcript-ezra-klein-interviews-d-graham-burnett.html

Apple podcasts:
https://podcasts.apple.com/us/podcast/your-mind-is-being-fracked/id1548604447?i=1000657387961

Spotify:
https://open.spotify.com/episode/5mOU82zZNe8I8O0ISWGkDc ]

"D. GRAHAM BURNETT: So I want to ask you back a question in response to that, which is, just, where do you anchor your intuition that it is, say, better to read a book than it is to scroll on TikTok for four hours?

EZRA KLEIN: If I’m being honest as a parent, right — and I’m not saying I would legislate this — I anchor it in my own experience of attention. I think books are remarkable and specific in their ability to simultaneously allow for a deep immersion in somebody else, right? Another human being’s story or thoughts or mind, and also create a lot of space for your own mind wandering.

And I will say — and it’s one of the reasons I wanted to invite you on the show. We’ll talk about the School of Attention that you’re part of in a bit. I will say that my biggest concern and the concern that nobody really has an answer to for me, because I do want to send my kids to public school, is that I care less about how they are taught subjects than how they are taught attention, what kind of attention they’re able to bring to the things they will want to know. But again, the thing that worries me is that I see so little discourse like that.

D. GRAHAM BURNETT: I’m enormously moved by what you’re saying. The dynamics that you’re describing are not unfolding in empty space. They’re unfolding in relation to a basically unbridled dynamic of financial optimization. Like, we just can’t leave capitalism out of this. The system in which we operate is centrally driven by return on investment, not by human flourishing.

And there may be no other way to organize large, modern, complex societies. But we would be insane not continuously to hold before us the essential adversary here. The corporations are not on our sides. And the fact that a major split of our contemporary economy has figured out how to monetize not just our labor, but our actual ability to give ourselves to what we care about, is extremely bad for our ability to continue to be non-inhuman beings.

EZRA KLEIN: I think I’m getting at something similar when I talk about my discomfort with how hard we find it to criticize choice. People mean a lot of things when they talk about neoliberalism, and I don’t love the term, one, because I think it annoys people and shuts them down. But the other is because it’s imprecise. But the thing I mean, when I talk about neoliberalism and the neoliberal age, is a period in which the logic of markets became the logic.

D. GRAHAM BURNETT: Absolutely.

EZRA KLEIN: And I think it has become very difficult to think outside of market logic. And when I read older texts, I see a lot more discussion of the good of virtues of — and a lot of it is very religiously inflected, to be fair. I mean, religion was an alternative structure of logic of meaning that was in contestation with economic ways of thinking about that. I think as religion has weakened not only as an organized force, but as a kind of conceptual way of looking at the world, capitalism market logic has taken over a lot of that space. And the market does not have our interests at heart.

D. GRAHAM BURNETT: You invoke religion as one of the traditions on which one has been able to draw for a discourse of value that would not reduce to money value. I would invoke to other kinds of institutions that have been really important. There’s the space of education. I mean, I basically believe that a lot of what we do in the humanities is a training of attention.

And partially, that’s like why we have to hold on to and protect spaces for humanistic work in our education, because a lot of the other stuff can be instrumentalized. It’s part of the reason it’s getting increasingly exterminated from universities because you can’t monetize it. And but I say all of that just because interpretation or meaning is so inextricable from the labor of attention.

And there’s a third, which I also think is interesting to consider, which is spaces of art, music, aesthetics. I mean, artists have always made fun of the bourgeois collector who showed up with a giant bag of money and said, show me the most expensive thing, and I’ll take it. And the people in the know and the space of the arts would snicker and say, how callow that he walked out with that. That’s not the good stuff.

So each of those spaces, spaces of religion and institutions of education, study, teaching, and learning, and then museums and spaces of artistic production, symphonies, music, each of those institutions has meaningful traditions of non-instrumentalizable attention."

...

"EZRA KLEIN: So you’re trying to do some of this. You have, along with others, this School of Attention. What are you trying to teach?

D. GRAHAM BURNETT: Yeah, I love this stuff. I mean, we think of the school as a little bit Black Mountain College, creative, artistic collaboration; a little bit like something like the Brooklyn Institute for Social Research, continuing education for people who want to read together and think and be together in person in a place; and then a little bit like the kind of radical labor schools of the teens and ’20s, like the schools created by the International Ladies’ Garment Workers’ Union, which were more like activist projects to promote a certain kind of politics.

So that’s kind of the triangle in which we place the school. The school does not promote some single programmatic theory of attention. On the contrary, we’re interested in all the different traditions that can inform how we take attention forward. We had a senior Zen student do a course on Zen meditation as an intentional form. A class on cinematography as a medium in which attention is choreographed cinematically. A class on perfume where smell as a sensory modality is centered as a sort of attentional form.

We run workshops — and this is separate from the classes. We do free workshops. And the workshops are sort of opportunities to actually do some intentional stuff together, exercises in which people will, for instance, listen four times to the same four-minute piece of music under, again, different sort of mental orientations, but collectively, then take some notes and talk out what happened as they sort of used their attention.

And possibly the coolest thing we do at the school are these things called sidewalk studies, in which between 5 and 10 people will get together, usually a bar or a cafe, and they’ll read a carefully selected paragraph closely together and talk about it seminar style, having a drink. That paragraph is on a card. When you flip the card over, there’s a thing to do together, like a street action, like a kind of situationist style activity.

So an example would be like a great Audre Lorde passage on food in the city. The action is going into a bodega and actually examining the bodega for where surveillance is happening, where nourishment is happening, and then moving to the second bar and talking through what it was like to be in the space of the bodega with the Audre Lorde passage in our heads together.

And there are dozens and dozens of these exercises that are continuously being invented by folks in the school and doing them together. They do it because it’s a way of being together and practicing attention together to generate forms of solidarity.

EZRA KLEIN: I’m interested in that idea of practicing attention together. With my kids, when I think about this, one of the things that I wonder is when I ask, what do I mean by I want them taught attention? Some part of it is just I want them to have familiarity, a visceral, somatic familiarity with what different kinds of attention feel like.

I’m not sure I had that for a very long time. I’d, of course, experienced many kinds of attention, but it’s only later in life I become more mindful of what they feel like. And that’s helped me diminish the role of some in my life. The reason I’m not on Twitter or X anymore is that I don’t like the feeling of the attention it furnishes. I don’t like how I feel when I leave it.

The reason I’ve sort of moved back to paper books is I do like the feeling of the attention. I notice that it is healthier for me. It sounds to me a little bit like something you all are trying to do is just creating contexts in which you experience different kinds of attention, so you have that internal map you can work with.

D. GRAHAM BURNETT: Absolutely. It’s a do by doing kind of thing. You actually have to come together with other people and surface the question of attention and then experience what giving one’s attention with others can do to be reminded of how precious that feature of our being is and discover what can be returned from the world to themselves out of opening themselves to it intentionally."]]></description>
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    <title>Deep Reading Will Save Your Soul - by William Deresiewicz</title>
    <dc:date>2024-05-30T16:21:54+00:00</dc:date>
    <link>https://www.persuasion.community/p/deep-reading-will-save-your-soul</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Real learning has become impossible in universities. DIY programs offer a better way."

...

"Higher ed is at an impasse. So much about it sucks, and nothing about it is likely to change. Colleges and universities do not seem inclined to reform themselves, and if they were, they wouldn’t know how, and if they did, they couldn’t. Between bureaucratic inertia, faculty resistance, and the conflicting agendas of a heterogenous array of stakeholders, concerted change appears to be impossible. Besides, business is good, at least at selective schools. The notion, floated now in certain quarters, that students and parents will turn from the Harvards and Yales in disgust is a fantasy. As long as elite institutions remain the principal pipeline to elite employers (and they will), the havers and strivers will crowd toward their gates. Everything else—the classes, the politics, the arts and sciences—is incidental.

Which is not to say that interesting things aren’t happening in post-secondary (and post-tertiary) education. They just aren’t happening, for the most part, on campus. People write to me about this: initiatives they’ve started or are starting or have taken part in. These come, as far as I can tell, in two broad types, corresponding to the two fundamental complaints that people voice about their undergraduate experience. The first complaint is that college did not prepare them for the real world: that the whole exercise—papers, busywork, pointless requirements; siloed disciplines and abstract theory—seemed remote from anything that they actually might want to do with their lives. 

Programs that address this discontent exhibit a remarkably consistent set of characteristics. They are interdisciplinary, integrating methods and perspectives—from, say, engineering and the social sciences—that are normally kept apart. They are informal, eschewing frontal instruction and traditional modes of evaluation. They are experiential, more about doing—creating, collaborating—than reading and writing. They are extramural, bringing students into the community for service projects, internships, artistic installations or performances. They are directed to specific purposes, usually to do with social amelioration or environmental rescue. Above all, they are student-centered. Participants are enabled (and expected) to direct their education by constructing bespoke curricula out of the resources the program gives them access to. In a word, these endeavors emphasize “engagement.”

All this is fine, as far as it goes. It has analogues and precedents in higher ed (Evergreen, Bennington, Antioch, Hampshire) as well as in the practice of progressive education, especially at the secondary level. High schools will focus on “project-based learning,” with assessment conducted through portfolios and public exhibitions. A student will identify a problem (a human need, an injustice, an instance of underrepresentation), then devise and implement a response (a physical system, a community-facing program, an art project). 

Again, I see the logic, it is just what many students want, but what bothers me about this educational approach—the “problem” approach, the “STEAM” (STEM + arts) approach—is what it leaves out. It leaves out the humanities. It leaves out books. It leaves out literature and philosophy, history and art history and the history of religion. It leaves out any mode of inquiry—reflection, speculation, conversation with the past—that cannot be turned to immediate practical ends. Not everything in the world is a problem, and to see the world as a series of problems is to limit the potential of both world and self. What problem does a song address? What problem will reading Voltaire help you solve, in any predictable way? The “problem” approach—the “engagement” approach, the save-the-world approach—leaves out, finally, what I’d call learning.

And that is the second complaint that graduates tend to express: that they finished college without the feeling that they had learned anything, in this essential sense. That they hadn’t been touched. That they hadn’t been changed. That there is a treasure out there—call it the Great Books or just great books, the wisdom of the ages or the best that has been thought and said—that its purpose is to activate the treasure inside them, that they had come to one of these splendid institutions (whose architecture speaks of culture, whose age gives earnest of depth) to be initiated into it, but that they had been denied, deprived. For unclear reasons, cheated.

I had students like this at Columbia and Yale. There were never a lot of them, and to judge from what’s been happening to humanities enrollments, there are fewer and fewer. (From 2013 to 2022, the number of people graduating with bachelors degrees in English fell by 36%. As a share of all degrees, it fell by 42%, to less than 1 in 60.) They would tell me—these pilgrims, these intellectuals in embryo, these kindled souls—how hard they were finding it to get the kind of education they had come to college for. Professors were often preoccupied, with little patience for mentorship, the open-ended office-hours exploration. Classes, even in fields like philosophy, felt lifeless, impersonal, like engineering but with words instead of numbers. Worst of all were their fellow undergraduates, those climbers and careerists. “It’s hard to build your soul,” as one of my students once put it to me, “when everyone around you is trying to sell theirs.”

That student’s name was Matthew Strother. It was through Matthew—he was in his early thirties by this point, and still seeking—that I learned about perhaps the two most prominent initiatives to have sprung up off-campus of late in response to the hunger for serious study. The first is the Brooklyn Institute for Social Research, which was founded in 2012 and now offers dozens of courses a year both in person and online. Its seminars meet three hours a week for four weeks. Recent offerings include classes on Melville’s The Confidence Man, Eric Auerbach’s Mimesis, fairy tales, and Mesopotamia. With its leftist commitments, BISR also runs courses in critical theory and the social sciences: Jacques Lacan, Gilles Deleuze, “Racial Capitalism,” “The Politics of Pregnancy.”

The second initiative Matthew alerted me to is the Catherine Project, which launched in 2020. Its vibe is very different from BISR’s. BISR was founded by a group of Columbia doctoral students. The Catherine Project was founded by Zena Hitz, a teacher at the St. John’s great books college in Annapolis, a Catholic convert, and, for three years, a resident of Madonna House, a monastic community in eastern Ontario. BISR is named for the Frankfurt Institute for Social Research, birthplace in the 1930s of the Frankfurt School of Marxist social thought. The Catherine Project is named for Catherine of Alexandria, an early Christian martyr, and Catherine Doherty, Madonna House’s founder.

BISR is explicitly political as well as educational; its Praxis program offers workshops and other resources to labor unions and nonprofits. The Catherine Project sees itself as being in the business of creating “communities of learning”; its principles include “conversation and hospitality, “simplicity [and] transparency.” Classes (called tutorials, in keeping with the practice at St. John’s) are free (BISR’s cost $335), are capped at four to six students (at BISR, the limit is 23), run for two hours a week for twelve weeks, and skew towards the canon: the Greeks and Romans, Pascal and Kierkegaard, Dante and Cervantes (the project also hosts a large number of reading groups, which address a wider range of texts). If BISR aspires to create a fairer market for academic labor—instructors keep the lion’s share of fees—the Catherine Project functions as a gift economy (though plans are to begin to offer tutors modest honoraria).

Add to these the Zephyr Institute, founded in 2014, which runs humanities-based programs in Silicon Valley. Add the Hertog Foundation’s humanities program, which since 2020 has conducted online seminars for mixed groups of undergraduates, graduate students, and young professionals. Add the reading groups and salons that have been proliferating both in-person and online. And many more initiatives, no doubt, that I have yet to learn of.

A number of factors play into this upsurge. One, of course, is the internet, as both a medium of study and a means to publicize offline opportunities. Another is the sense that academic humanities departments have long been inimical to humanistic inquiry—a major reason college students have felt cheated of it—as opposed to political tub-thumping. A former student who did an MFA in fiction at a major public university remarked that while the program’s writing instruction was only so-so, at least the workshops afforded the chance to really read, unlike what went on in what he called the institution’s “clownish” English department.

A third is less obvious. The long-term crisis in academic employment—the shift to adjunct labor, the glut of PhDs—has created a large pool of qualified instructors only loosely attached to, or entirely detached from, the academy. BISR’s faculty, almost all of whom have doctoral degrees, include not only adjuncts (and appointed professors), but book editors, full-time writers, a university librarian, an archaeologist, and a psychoanalyst-in-training. As Russell Jacoby has noted, the migration of intellectuals into universities in the decades after World War II, which he documented in The Last Intellectuals, has more recently reversed itself. The rise, or re-rise, of little magazines (Dissent, Commentary, Partisan Review then; n+1, The New Inquiry, The Point, The Drift, et al. now) is part of the same story. 

The Catherine Project’s faculty reflects a fourth factor. If there are students who despair at the condition of the humanities on campus, there are professors who do so as well. Many of her teachers, Hitz told me, have regular ladder appointments: “We draw academics—who attend our groups as well as leading them—because the life of the mind is dying or dead in conventional institutions.” Undergraduate teaching, she added, “is a particularly hard pull,” and the Catherine Project offers faculty the chance to teach people “who actually want to learn.”

And, I’d add, who can. Nine years ago, Stephen Greenblatt wrote: “Even the highly gifted students in my Shakespeare classes at Harvard are less likely to be touched by the subtle magic of his words than I was so many years ago or than my students were in the 1980s in Berkeley. … The problem is that their engagement with language … often seems surprisingly shallow or tepid.” By now, of course, the picture is far worse. Last year, in an article about the plunge in humanities enrollments, another Harvard English professor, Amanda Claybaugh, was quoted as follows: “The last time I taught The Scarlet Letter, I discovered that my students were really struggling to understand the sentences as sentences—like, having trouble identifying the subject and the verb.” And this is at Harvard. It’s no wonder faculty are thirsty for students with whom they can actually have a dialogue about the books they love.

I am involved in one of these off-campus ventures myself. My student Matthew, having spent many years searching for, then dreaming of, his ideal intellectual environment, decided to create it himself. It would marry rigorous group study of literary and philosophical texts with mindful living and abstention from technologies of communication. It would be a face-to-face community, a retreat from distraction, a school for adults. It would be small, self-governing, contemplative, and free of charge. He studied models: Deep Springs College, Plato’s Academy, Nietzsche’s experiences at Villa Rubinacci. He made copious notes. He outlined a set of principles. He purchased property in upstate New York.

But he did not live to see his plans take form. Matthew died last year, of cancer, at the age of 35, in the middle of his life’s way. But such was the beauty of his dream, and the love that he inspired, that some of us who knew him, led by his widow, Berta Willisch, determined to see it realized. Already this year, the Matthew Strother Center for the Examined Life is running three ten-day pilot programs for five participants each (plans are to expand to groups of ten and also offer longer sessions). The faculty include myself, Zena Hitz, and Len Nalencz, a friend of Matthew’s and a professor at the University of Mount Saint Vincent.

The response to the announcement of our pilot programs confirmed for me the existence of a large, unmet desire for text-based exploration, touching on the deepest questions, outside the confines of higher education. With limited publicity, a tight deadline, and a fairly demanding application process, we received nearly 160 submissions. Applicants ranged from graduating college seniors to people in their 70s. They included teachers, artists, scientists, and doctoral students from across the disciplines; a submarine officer, a rabbinical student, an accountant, and a venture capitalist; retirees, parents of small children, and twentysomethings at the crossroads. Forms came in from India, Jordan, Brazil, and nine other foreign countries. The applicants were, as a group, tremendously impressive. If it had been possible, we would have taken many more than fifteen.

When asked why they wanted to participate, a number of them spoke about the pathologies of formal education. “We have a really damaged relationship to learning,” said one. “It should be fun, not scary”—as in, you feel that you’re supposed to know the answer, which as a student, as she noted, makes no sense. “Study or attention,” said another, “has been lodged in an institution that has its own incentives,” like sorting for “merit.” “We need opportunities for reading and exploration that lie outside the credentialing system of the modern university,” he went on, because there’s so much in the latter that cuts against “the slow way that kind of learning unfolds.” A third, a dedicated autodidact who dropped out of a prestigious institution, used the architectural theorist Christopher Alexander’s notion of an “intimacy gradient” to describe his urge to enter into deeper contact with material than college courses typically allow. “For life’s significant questions,” he wrote, “like how one might choose to live, answers are to be found by moving along the gradient, not by ambling around the periphery.”

“How one might choose to live.” For many of our applicants—and this, of course, is what the program is about, what the humanities are about—learning has, or ought to have, an existential weight. Beneath their talk of education, of unplugging from technology, of having time for creativity and solitude, I detected a desire to be free of forces and agendas: the university’s agenda of “relevance,” the professoriate’s agenda of political mobilization, the market’s agenda of productivity, the internet’s agenda of surveillance and addiction. In short, the whole capitalistic algorithmic ideological hairball of coerced homogeneity. The desire is to not be recruited, to not be instrumentalized, to remain (or become) an individual, to resist regression toward the mean, or meme.

That is why it’s crucial that the Matthew Strother Center has no goal—and this is true of the Catherine Project and other off-campus humanities programs, as well—beyond the pursuit of learning for its own sake. Which means, for the sake of whatever students want to do with it, of whomever it might make them. This is freedom. When education isn’t pointed in particular directions, its possibilities are endless. After college, Matthew disappeared to Europe. I didn’t hear from him for five years. Finally, I got a letter—at some thirty pages, the longest I’ve ever received. It was a spiritual diary that doubled as a reading log. He referenced Joyce, Hesse, Bellow, Camus, Lawrence, Larkin, Miller, Maugham, Hemingway, Chesterton, Salinger, Durell, Ozick, Blake, Gorky, Chekhov, Geoff Dyer, Paul Goodman, Roberto Calasso, David Shields, Gregoire Bouillier, and George WS Trow. At the end, he wrote this: “The straight river of my narrative has opened onto the wide deltas of the present, and looking out to sea there’s nowhere to go but anywhere.” Exactly."]]></description>
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    <title>The Shoe Shop | Dougald Hine and Anna Björkman - YouTube</title>
    <dc:date>2024-05-28T20:30:23+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Title: The Shoe Shop
Created by: Campfire Stories

Synopsis: 
Anna Björkman and Dougald Hine had been hosting online workshops for years, centering around the idea of regrowing a living culture. When they were looking for a physical place for their gatherings, they fell in love with an old shoe shop.

The shoe shop in Östervåla, Sweden had been around for over 100 years, spanning three generations of shoe makers. Now, through its new owners' thoughtful curation, it's slowly being transformed into a cultural centre of sorts.

Dougald and Anna have already hosted a concert, a storytelling evening and a film screening here. And there are plans for many more events ahead.

The closing of the old shoe shop marked the end of an era in Östervåla. But with the opening of the new one, the town has gained a spot for hanging out, for learning new things and for forming relationships worth trusting.

Filmed in: Östervåla, Sweden
Featuring: Dougald Hine & Anna Björkman (https://aschoolcalledhome.org/)
Produced, filmed and edited by: Mattias Olsson for Campfire Stories (https://www.campfire-stories.org/)
Sound mix: Boris Laible (https://www.borislaible.com/)
The song at the end of the film was composed and recorded by Arvid Rask. (https://www.kolonien.nu/about)
The other two songs in the film were sourced from Premiumbeat.com.
Caroline Ross ( 

 / foundandground  ) is one of the two guests to visit the shoe shop in the film. She’s an artist who creates all of her paints from natural materials. The other visitor is Theresa Emmerich Kamper ( 

 / traditional_leather  ) who's a traditional leather maker.
 
The films of the series "Something Beautiful for the World" explore how small acts of love and kindness have the potential to ripple out and change the world, touching hearts and minds in ways that we could never begin to imagine. We'll be sharing a total of 12 short films, from across five continents - releasing one per month for the whole year of 2024 - four from each filmmaker."]]></description>
<dc:subject>dougaldhine annabjörkman 2024 aschoolcalledhome place sweden lcproject openstudioproject</dc:subject>
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<item rdf:about="https://freakonomics.com/podcast/how-does-the-lost-world-of-vienna-still-shape-our-lives/">
    <title>How Does the Lost World of Vienna Still Shape Our Lives? - Freakonomics</title>
    <dc:date>2024-05-28T05:43:22+00:00</dc:date>
    <link>https://freakonomics.com/podcast/how-does-the-lost-world-of-vienna-still-shape-our-lives/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From politics and economics to psychology and the arts, many of the modern ideas we take for granted emerged a century ago from a single European capital. In this episode of the Freakonomics Radio Book Club, the historian Richard Cockett explores all those ideas — and how the arrival of fascism can ruin in a few years what took generations to build."

[See also:

Vienna: How the City of Ideas Created the Modern World, by Richard Cockett (2023)
https://yalebooks.co.uk/book/9780300266535/vienna/

"How can one European capital be responsible for most of the West’s intellectual and cultural achievements in the twentieth century?
 
Viennese ideas saturate the modern world. From California architecture to Hollywood Westerns, modern advertising to shopping malls, orgasms to gender confirmation surgery, nuclear fission to fitted kitchens—every aspect of our history, science, and culture is in some way shaped by Vienna.
 
The city of Freud, Wittgenstein, Mahler, and Klimt was the melting pot at the heart of a vast metropolitan empire. But with the Second World War and the rise of fascism, the dazzling coteries of thinkers who squabbled, debated, and called Vienna home dispersed across the world, where their ideas continued to have profound impact.
 
Richard Cockett gives us the entirety of this extraordinary story. Tracing Vienna’s rich intellectual history from psychoanalysis to Reaganomics, Cockett encompasses everything from the communist rebels of Red Vienna to the neoliberal economists of the Austrian School. This is the panoramic account of how one city made the modern world—and how we all remain inescapably Viennese."]

[via the CW&T newsletter:

"Late last Thursday night, Che-Wei was on a train to Boston and he texted me "we should figure out how to argue better". I texted back "sure, but please first more context".

He then sent over one of the latest Freakonomics podcasts, How Does the Lost World of Vienna Still Shape Our Lives? In this episode Stephen Dubner chats with Richard Crockett about his recent book Vienna : How the city of ideas created the modern world. The part about arguing only comes at the very end. But it left me yearning to learn more about Vienna. Also, Dubner boasts that Crockett's book was one of those rare, lucky reads that happen only once or twice a year that you can't stop thinking about.

Early in the book, Crockett talks about the concept Bildung, an idea coined by Prussian philospher + education administrator Willhelm von Humboldt (1767-1835) where people prioritize and value lifelong learning and curiosity, as opposed to class and money. In the late 1800s, Vienna was very much a city of immigrants, and the people who lived there formed very strong connections with these ideas. He then goes on to talk about how these values were cultivated and shaped society.

I'm not going to re-tell the whole book, but aside from establishing access to free standardized, multidisciplinary education for men and woman ages 6-14, being a hobbyist, tinkerer, having interest in the arts or philosophy was very much ingrained in everyday life. Part of this had to do with the cafe culture, but also the architecture of middle class homes. These were very well suited with spaces to not only host gatherings, but to have workshops, or even terrariums/animal/insect habitats. It was common for groups of friends to gather at homes and for fun attempt to replicate some of the latest experiments published in scientific journals, or for young kids to raise and study insects or animals.

We all know how the story ends (not good). And even though I haven't finished the book, I can't stop thinking about that world, its loss and wondering about what parts of it remain and can be cultivated."]]]></description>
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<item rdf:about="https://bigthink.com/the-past/penny-universities-coffeehouse/">
    <title>&quot;Penny Universities&quot;: How coffeehouses changed the world - Big Think</title>
    <dc:date>2024-04-15T00:23:22+00:00</dc:date>
    <link>https://bigthink.com/the-past/penny-universities-coffeehouse/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Centuries ago, the typical British coffeehouse was more like a "school without a master" than a place to grab a quick boost of caffeine."

...

"* Coffeehouses in 17th-century Britain were called "Penny Universities," and they were gathering places for academics, artists, and intellectuals.

* These intellectual hubs democratized learning, opening avenues for people of all backgrounds to engage in scholarly discourse — including those who could not access higher education.

*The ideas swirling around these coffeehouses helped create some of today's major institutions, including Lloyds of London, the Royal Society, and the London Stock Exchange."

...

"Be careful when you next go into your favorite coffee shop. Sure, you might harmlessly be looking for a pick-me-up to get through that three-hour meeting, but what else might you find? Revolution, radicalization, and deviancy. That’s not caffeine you’re tasting — it’s danger. As King Charles II put it, coffee is “the great resort of idle and disaffected persons…[and] has produced very evil and dangerous effects.” People who hang about in coffee houses are the disreputable, dodgy sort — do you really want to be seen around those types?

For hundreds of years after their introduction, coffeehouses didn’t just sell coffee. They sold ideas. If you walked into an average 17th-century coffeehouse in Britain, you’d see gathered around the table academics, authors, artists, foreign exiles, revolutionaries, and political radicals. There would be a buzz in the air — the buzz of excited and scholarly debate. These coffeehouses were not hushed places of laptops and headphones. They were forums.

These were the “Penny Universities” of early modern Britain, and within their cozy, candlelit interiors, an intellectual revolution was brewing.

Unfiltered education

If you were born in Britain in the 1600s, you would have had a slim chance of getting a good education. Wealthy families in England would pay for private tutors or send their children to one of the expensive “King’s Schools” (founded by or named after Henry VIII). Anyone who didn’t own a mansion and a title would have to be either very smart or very lucky to get into a good school. After that, no matter how brilliant you might be, your education would come to a yanking halt in adulthood. In England, there were only two universities: Oxford and Cambridge, and both charged fees far beyond most people’s annual income (not to mention the books and board you had to pay for). Higher education was reserved for higher incomes.

So, what were intelligent and academically curious people to do? Well, drink coffee. The first coffeehouse in the UK opened in Oxford in 1650 and it was crammed with dissatisfied or disillusioned academics. These Oxford coffeehouses were massively exclusive (serving only university members) but they set a precedent. These were places of erudition, debate, science, and intellectual curiosity. And, importantly, they existed outside of formal institutions.

We’ve bean thinking

Coffee and coffeehouses spread to London soon enough, and it was here that a diarist named Samuel Pepys stumbled across one of the most famous: the Rota Club. Pepys was an early convert to coffee, and while at the Rota Club he was amazed by the ‘‘admirable discourse’’ and ‘‘exceeding good arguments” he heard there. In Pepys’ London, the “virtuoso” was a type of man that devoted himself to letters and learning. They were the intelligentsia of the 17th century, and they all gathered in coffeehouses like the Rota Club.

Most importantly, these coffeehouses didn’t care about your background — so long as you were someone who liked to think. These coffeehouses welcomed patrons from all walks of life and were a rare opportunity for the many social strata of Britain to meet and debate great ideas. As one French writer put it, “What a lesson to see a lord, or two, a baronet, a shoemaker, a tailor, a wine-merchant, and a few others of the same stamp pouring over the same newspapers. Truly the coffee houses… are the seats of English liberty.”

Places like the Rota Club had a spark and energy to them that was often lacking in the rigid lecture halls of Oxford or Cambridge. If you had wit and intelligence then you could take a seat at the coffeehouses, and, in all your many caffeinated discussions, you’d find there were few ideas left unexamined. Anyone could learn, and anyone could teach, if only you could pay the price of a coffee, which, back then, was a penny. And this is why these coffeehouses came to be known as “Penny Universities.”

A whole latte ideas

Of course, not everyone thought highly of these “Penny Universities.” One 1661 pamphlet decried that there were “neither moderators, nor rules” and that they resembled “a school without a master.” These critics laughed at the indiscriminatory and meandering “learning” that took place, mocking them as “tattling universities.” Patrons would debate astronomy and then literature in the time it took to drink a coffee. In a single afternoon, they might discuss mercantilism and mathematics, then Calvinism and chemistry.

But this was the whole point of Penny Universities. It was learning without rigid parameters, thinking outside the box. And in all this frantic and exciting exchange of ideas, great things were born. Then, as now, when intelligent and passionate people put their heads together, innovation and discovery soon follow after.

In Lloyd’s Coffee House, ship captains and their backers would gather for a brew. And from their “tattling” emerged the world’s largest insurance market: Lloyds of London. Meanwhile, down at the Grecian Coffeehouse, scientists were gathering to watch two scholars dissect a dolphin on a table. Those scholars were Isaac Newton and Edmund Halley, two of many scientists from the Royal Society who frequented coffeehouses. Over at Jonathan’s Coffee House, merchants and traders were discussing economics. And despite having “neither moderators, nor rules” they managed to create the London Stock Exchange — the first of its kind and the basis of so much of the modern economy.

So, the next time you buy a coffee from your favorite coffeehouse, think about the great history that began in places just like that."

[kind via:
https://www.are.na/block/24934810

"During their heyday, they were dynamic sites for democratic political discussion and commerce. They were often called “penny universities” because for the penny price of a cup of coffee, you could listen to learned intellectuals expound on their areas of expertise."]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ishinomaki Lab helped rebuild a city in Japan after the 2011 tsunami. Now, a partnership with a Michigan makerspace again demonstrates the power of design."]]></description>
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    <title>Why Are We Still Talking About Black Mountain College? - The New York Times</title>
    <dc:date>2024-01-03T01:19:39+00:00</dc:date>
    <link>https://www.nytimes.com/2022/07/07/t-magazine/black-mountain-college.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1933, a handful of renegade teachers opened a school in rural North Carolina that would go on to shape American art and art education for decades to come."

...

"Black Mountain College lives on not just because reading about it and looking at the many images it produced is pleasurable and immensely entertaining, but because it was a uniquely generative institution. It modeled an innovative style of education that would form the paradigm for numerous art and liberal arts schools and arts organizations in America (including the one where I have been a fellow, the Black Mountain Institute — no relation — at the University of Nevada, Las Vegas, which took its name in homage and sought to emulate its ethos). And it educated a generation of confident, independent, original thinkers — artists of the imagination, if you will, if not necessarily career professionals — to participate in a democratic society. But, above all, it gave rise to a network of artists who would spread its utopian spirit, ideas and vision to various precincts of the contemporary art world."

...

"It’s widely agreed that the hiring of Albers, now regarded as one of the most influential visual arts professors of the 20th century, was Rice’s savviest move. A gifted, passionate teacher with a reputation for being somewhat intense, Albers had been an instructor at the Bauhaus for a decade; he took the school’s preliminary design course (the Vorkurs), on which he’d put his own spin, and brought it to Black Mountain, where he taught drawing, basic design and color theory. Albers gave his students uniform assignments, and then critiqued their work in class. His aim was to teach people “to see” without preconceptions or ego: “I want to open eyes,” he said. So many artists took his class over the years — Rauschenberg, Twombly, Johnson and Asawa, to name a few — that it has become an iconic detail in the history of American art: the Museum of Modern Art owns two notebooks (their covers labeled “Colour” and “Design”) belonging to Austrian Australian architect Harry Seidler, who studied under Albers in 1946. Molesworth affirms that Albers’s pedagogical legacy is considerable: “The template of American art school is still the Black Mountain template,” she says, “between the crit, a rotating roster of guest speakers and the interdisciplinarity — that’s literally art school.”"

...

"The astonishing number of major avant-garde artists who graced the Black Mountain campus is surely the principal reason for the school’s abiding grip on the cultural imagination. But I would argue that there’s more to it: Black Mountain feels bound up with — in fact, a formative influence on — a critical moment in American history, particularly the postwar period, when the country emerged victorious from overseas conflict, then entered an unprecedented economic boom and era of artistic prospering. Against the backdrop of such momentous societal change, the college was a creative refuge settled by countercultural pioneers — “a community pledged to rebel against all traditional modes of behavior, in life as in art,” as Francine du Plessix Gray has written. It was experimental, idealistic and offbeat but, compared to the intensity of the ’60s and ’70s, when people would become far more radicalized, it now feels rather innocent. Black Mountain existed at a time before second-wave feminism, the civil rights movement or identity politics. Albers was teaching formalism, Olson radical subjectivity, and everyone was concerned with colors, shapes, beauty and truth — all in the earnest belief that these lofty ideals would make a better world. From our current vantage, when politics has become such an inextricable part of art and life, it’s easy to regard the whole phenomenon as a kind of picturesque fantasy, to feel nostalgic for a seemingly simpler time.

It is certainly tempting, when looking at images of Black Mountain, of students gamboling outdoors, or waltzing together at one of the college’s Saturday night soirees, or attending class in a sunlit cabbage patch, to “just see the glorious things that came out of there and picture the dances and the cheerful community and all those geniuses together,” as Weber puts it — to romanticize and idealize it. That would likely have annoyed the Alberses, according to Weber, who says they felt it was “glorified” as “some sort of paradise.” In fact, it was a precarious, improvised situation taped together on a shoestring budget. When Helen Frankenthaler visited Greenberg while he was teaching one summer, she found it not to her liking: “The food was terrible. Most of the people were dingy. The barracks were unspeakable. Most of the personal situations were nightmares. And there were snakes.” Like any institution, it also had its entrenched problems, backstage dramas and internecine conflicts. Chief among those was the debate over integration on campus, as some faculty opposed admitting Black students, citing fears of violence from the surrounding town. But the students and on-board faculty persisted and, in fits and starts, made headway. In 1944, the college’s first Black student, Alma Stone Williams, was admitted to the summer music institute as a “visiting guest,” and the first full-time Black student, Sylvesta Martin, enrolled the following year. The faculty was also slowly, if temporarily, diversified. The singers Roland Hayes and Carol Brice were invited to come for the 1945 summer institute, while several other Black teachers were brought on full-time, though only for short stints: Dr. Percy H. Baker, a biologist, was hired as a visiting lecturer in the fall of 1945; Mark Fax, a composer, taught the following semester; and the painter Jacob Lawrence — who, with his unique blend of social realism and modernist abstraction, would become one of the most famous painters of the 20th century — was invited by Albers to come with his wife, Gwendolyn Knight Lawrence, for the summer of 1946. Still, attracting Black students proved challenging. Not only was the South still segregated under Jim Crow laws but, as Baker pragmatically pointed out, “College for us serves a very economic purpose” — it was difficult to persuade Black students of the advantage of a school where they might “not receive a degree.”

The plight of women at Black Mountain was likewise complicated and less than utopian. On the one hand, it was a realm where women were essentially free: to make art, to perform in the art of others, to dig ditches, to farm — “this was not a finishing school,” Molesworth says. On the other, women still had to deal with the nagging, pervasive sexism of the time: Olson, who walked around campus shirtless in a serape, was known to make inappropriate remarks to — and sometimes even to exclude — his female students; Albers, despite his austere demeanor, had, according to the biographer Charles Darwent, a reputation for not keeping his hands to himself. Black Mountain, for all its progressive ideals, was still trapped in its historical moment.

In the end, the college found itself, like so many institutions, mired in internal disputes and administrative conflicts, and it closed, in 1957, for the reason many do: lack of money. Its influence, though, would long be felt on the arts in this country. Albers, who left the college in 1949, went on to run the Department of Design at Yale, and train many more young artists. Asawa, who is known to most as the creator of striking biomorphic wire sculptures, co-founded the Alvarado Arts workshop in 1968 — an arts education program that at its peak was in more than 50 San Francisco public schools — and helped start the city’s first public arts high school, which now bears her name, in 1982. Willem de Kooning and Franz Kline advanced the spirit of collegiality and collaboration espoused at Black Mountain as founding members of the Club in New York City — a haunt frequented by pretty much the entire pantheon of important midcentury artists and thinkers, everyone from Isamu Noguchi to Hannah Arendt. And on and on. Yet, arguably, even more significant than the individual artists the school dispersed was its overall ethos. It offered a model of experimentation, optimism and freedom, set alongside social responsibility, and it taught a generation of artists to perceive the world with an ethical clarity that’s all too rare now. “In short, our art instruction attempts first to teach the student to see in the widest sense,” Albers wrote in June 1934, “to open his eyes to the phenomena about him and, most important of all, to open to his own living, being and doing.”"]]></description>
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<item rdf:about="https://thoreaucollege.org/microcollege-movement/">
    <title>Microcollege Movement - Thoreau College</title>
    <dc:date>2023-11-13T06:47:35+00:00</dc:date>
    <link>https://thoreaucollege.org/microcollege-movement/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[added to Wayback:
https://web.archive.org/web/20231113064744/https://thoreaucollege.org/microcollege-movement/ ]

"SMALL IS BEAUTIFUL
Thoreau College is a leader in an emergent movement dedicated to the renewal and revitalization of higher education through the creation of new humanly-scaled, place-based, meaning-centered institutions with holistic curriculums known as microcolleges. Found in diverse locales, these institutions tend to incorporate several common features: intimate student bodies, the inclusion of student labor, the limiting of technology in favor of face-to-face interactions, student self-governance, experiential and discussion-based academic courses, a strong connection to place, and an emphasis on the holistic development of the student as a unique individual. Several microcollege initiatives draw their inspiration from Deep Springs College, which was far ahead of its time as a microcollege with about 26 students established in 1917. In actively synthesizing the manual, the intellectual, and the social, these colleges seek to re-create post-secondary education as a place where, as founder L.L. Nunn wrote of Deep Springs, students go not “to find either absolute truth or absolute wisdom, but to think, to read, to grow, and above all, to securely establish the one and only purpose which can justify man’s existence.”

In one sense, the microcollege movement is a response to specific worrisome trends in modern academia: administrative bloat, a morbid fixation on infrastructural development, and the impersonal, or even mercenary, relationships that often exist between institutions and students. But it is also evidence of a deeper cultural reflection on the very form and purpose of education, a critique that goes deeper than rising tuition costs.

Many people in our era in are trying to think differently about the how and why education takes place. One such example, the Folk School Alliance, is a network of over 70 schools across North America dedicated to the preservation and transmission of traditional skills, handcrafts, and practices like homesteading, animal husbandry, and sustainable agriculture. (Thoreau College is a member of the Folk School Alliance) Likewise, there is a smaller collection of anthroposophical (Rudolf Steiner’s school of thought) initiatives, including the M.C. Richards Program at Free Columbia and the International Youth Initiative Program in Sweden. A growing international collective, the Ecoversities Alliance, frames their mission as a response to our time’s diverse set of crises: climatological, economic, social, etc. The Alliance’s participating institutions prioritize working with struggling and indigenous communities, their goal to reclaim “knowledge systems and a cultural imaginary to restore and re-envision learning processes that are meaningful and relevant to the challenges of our times.”

The microcollege movement might be mistaken as simply proposing an eccentric, alternative model to big box universities; rather, it is part of a significant inquiry into what and how we should learn. As a movement, it is a fledgling one and still in the process of self-definition. Some are explicitly Nunnian, while others draw inspiration from prominent thinkers, stress social entrepreneurship, or seek of respond directly to ecological concerns of the present time. Some retain fundamental liberal arts structuring — others are conspicuously attempting to shirk these forms. That said, fundamentally, the initiative is about cultivating spaces, communities, and networks of learning in which students can meaningfully confront the existential question William James once posed: What makes a life significant?

Microcollege Directory:

Deep Springs and Deep Springs-inspired programs:
Deep Springs College – Deep Springs, California
Tidelines Institute – Gustavus, Alaska
Outer Coast – Sitka, Alaska
Gull Island Institute – Falmouth, Massachusetts

Anthroposophically-inspired programs:
The International Youth Initiative Project – Järna, Sweden
Free Columbia – M.C. Richards Program – Philmont, New York
The Pfeiffer Center Biodynamic Course – Chestnut Ridge, New York

A few other microcollege projects:
Seguinland Institute – Georgetown, Maine
Wendell Berry Farming Program – Henry County, Kentucky
Flagstaff College – Flagstaff, Arizona
Sterling College – Craftsbury Common, Vermont
PlaceCorps – Kingston, New York
Bard’s Microcollege Initiative – Multiple locations
Springhouse Community School  – Floyd, Virginia
The Eco-Institute at Pickards Mountain – Chapel Hill, North Carolina
Schumacher College – Totnes, England, UK
Kotowari – Japan
Nour Holistic Education – Egypt
Lo-Fi Language Microcollege – Denver, Colorado

Articles about microcolleges:
Voices with Vervaeke YouTube Channel:  Holistic & Intergenerational Learning
Arizona Daily Sun:  Big Idea: College on a ‘micro’ scale
NYTimes article on the microcollege movement
The Arete Project on NPR
Yes! Magazine: Why We Need Tiny Colleges
Washington Post: As enrollment falls and colleges close, a surprising number of new ones are opening
La Crosse Tribune: Thoreau College in Viroqua ‘in the right place’ during the pandemic"]]></description>
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<item rdf:about="https://layerze.ro/">
    <title>Layer Zero</title>
    <dc:date>2023-09-11T18:25:28+00:00</dc:date>
    <link>https://layerze.ro/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Equal parts office, lab, clubhouse, and coffee spot, we
want Layer Zero to be _the_ gathering place for
non-corporate related hackers and creators from our
cities. We fund it ourselves, so you don't have to worry 
who's behind it. It's us.* 

It's on a transit line. There's food nearby. There's
heat, chairs, coffee, and creativity. A cute backdoor
space to use during our nicer seasons. A warm indoor
space to cower in through winter. Oh, and a mini-fridge.
And a renovated bathroom.

We have COVID policies and aren't weird about talking 
about masks. We know we're living in a hellscape timeline, 
we'd just rather work through it together and maybe build
something beautiful."

[via:
https://usesthis.com/interviews/j3s ]]]></description>
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<item rdf:about="https://blog.ayjay.org/against-apps-for-wander-lines/">
    <title>against apps, for wander lines – The Homebound Symphony</title>
    <dc:date>2023-08-23T20:52:52+00:00</dc:date>
    <link>https://blog.ayjay.org/against-apps-for-wander-lines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is the value of Deligny’s work to de Certeau? The “wander lines” of the autistic children exemplify

<blockquote>‘indirect’ or ‘errant’ trajectories obeying their own logic. In the technocratically constructed, written, and functionalized space in which the consumers move about, their trajectories form unforeseeable sentences, partly unreadable paths across a space.</blockquote>

The autistic children Deligny worked with are admirable improvisers: pens and paper are for writing words, they serve the purpose of bringing people “inside written language,” but these children made something else of the tools, adapted the instruments to their own needs and desires. (This is what in my “Filth Therapy” essay, following yet another French thinker, the anthropologist Claude Levi-Strauss, I called bricolage: making do, employing what is to-hand, inventing new purposes for old materials.)

It is vital to de Certau’s argument to insist how commonplace such activity is – we fail to see how much we are like those autistic children in the mountains of France, how we too are tacticians:

<blockquote>Many everyday practices (talking, reading, moving about, shopping, cooking, etc.) are tactical in character. And so are, more generally, many “ways of operating”: victories of the “weak” over the “strong” (whether the strength be that of powerful people or the violence of things or of an imposed order, etc.), clever tricks, knowing how to get away with things, “hunter’s cunning,” maneuvers, polymorphic simulations, joyful discoveries, poetic as well as warlike.</blockquote>

But what de Certau, writing nearly fifty years ago, did not foresee is the rise of a Technopoly, an ever-extending regime that unites the old forces of state and corporation into an unprecedentedly extensive endeavor with a Grand Strategy – a strategy I have called metaphysical capitalism. (See the relevant tag to this post.) Technopoly tells us that we own ourselves, and that everything we need to fulfill our own (unchallengeable) desires is available for sale in the marketplace. But of course this is a system that only works if what we desire can in fact be purchased; and since that cannot in advance be guaranteed, the initial imperative of Technopoly is to train our desires, to channel them towards what the system already has for sale.

And the greatest instruments ever devised for such channeling are our internet-connected devices, especially when we connect to the internet through apps. The reason? Because while pens and paper can be used in extraordinarily varied and unpredictable ways, apps can’t: the ways in which we can interact with them are determined with great specificity and no deviation from the designed user-interface paradigm is permitted. You can use a pen to write a poem in elaborate cursive, sketch a tree, play Hangman, or, in moments of desperation, scratch a mosquito bite or skewer a chunk of watermelon. (I am describing, not recommending.) With TikTok, you can … make TikToks. The app is so far the ultimate extension of what Albert Borgmann called the device paradigm. 

In short: in relation to the Grand Strategy of Technopoly, the essential purpose of apps is to eliminate the sphere of the tactical. It is to make the kind of improvisation I celebrated in my essay on Albert Murray impossible. It is to transform us all into drones, and then to make us like it – to make us (a) accept a universal strategic imperative as desirable, and (b) promise that our lines never shall wander."]]></description>
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<item rdf:about="https://problemchildren.org/">
    <title>Problem Children is an arts enrichment program for teenagers.</title>
    <dc:date>2023-08-16T07:48:10+00:00</dc:date>
    <link>https://problemchildren.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Problem Children gives young artists* with a creative passion the space, tools, resources, and mentorship to explore their interests deeper
←
The program runs from June—August and is conducted with in-person group sessions & one-on-one virtual meetings with your mentor. Program activities are tailored around your individual interests and those of the group as a whole.

Through group discussion, workshops, guest lectures, field trips, self-directed exploration, and one-on-one mentorship, you will be guided toward creating a final project of your own imagination.

The program ends with a closing presentation and exhibition."

[https://problemchildren.org/about/

"PROBLEM CHILDREN is designed for students with a creative practice who are interested in diving deeper.

By working with new mediums, formats, and constraints, the program pushes students to create more sophisticated and informed work.

Ideal candidates have a deep curiosity about how their creative practice functions in their own lives and in the broader culture, should be highly self-motivated, and are willing to invest time and energy to stretch beyond their current comfort zones.

The program places an emphasis on process over a final product, challenging students to engage their capabilities for self-direction. Successful students will show an interest and ability to guide their own learning, set goals and milestones and work through their inquiries, both external and internal.

We are currently accepting students with a focus in:

Visual arts: Photography, Design (graphic & web), Illustration, Painting, Digital Art, Architecture, and Sculpture/Installation.

WHAT IS THE PROGRAM ABOUT?

PROBLEM CHILDREN was designed to provide the creative space and education we wish had existed when we were younger.

Now in its fifth year, the program leverages the passion and experience of creative professionals to provide students the space and guidance to explore their creativity. We believe a mentorship that provides encouragement, shares knowledge, and teaches skills-based wisdom, is critically important to growth.

Through 1:1 mentorship, group sessions, and on-location experiences, the program encourages curiosity, critical thinking, and self-development—skills students will carry throughout their educational and professional lives.

The core curriculum is continuously developed in response to the interests and feedback of students, with each student creating their own path for exploration and project development. Group sessions provide a learning environment of like-minded peers that encourages collaboration and creates accountability, pushing students to reach their full potential. Mentors support individual explorations meant to elevate and expand each student’s talents and interests.

The program culminates with each student creating one mid- to large-scale project that represents the progress of their self-directed explorations and thinking throughout the program.

(from a parent:
"We are so pleased with Emerson's experience with Problem Children. Problem Children allowed her to express herself in such a positive way. The opportunities to connect with and work with artists and creative professionals has been amazing." --Kathy Michihira)

INFORMATION

Problem Children is committed to working with exceptional young creatives and providing them with as many resources as possible.

Through student tuition, partnerships, financial and material donations, and creative thinking, we are able to give students access to a wide range of tools, knowledge training, and creative possibilities. The program leverages all support into tangible results for students, maintaining its effort on providing opportunities that are responsive to the needs of students.

Information sessions & application interviews

We offer information sessions for parents and students who are interested in applying, but would like more information. If you’d like to attend an information session, please email Daniel to set up an appointment.

Problem Children is built for anybody, but is not for everybody. As such, we take applications very seriously and include a 30 minute video interview as the second stage of the application process. After interviewing students, we ask that parents make themselves available for a 15 minute conversation with the program director and relevant staff. This gives us contextual information and helps us better understand and support your child.

STAFF & MENTORS

Program staff and mentors are an all volunteer team of creative professionals enthusiastic about student development and committed to being advocates for students on an ongoing basis. The group is composed of professional artists, designers, photographers, performers, engineers, educators and writers.

STAFF

Program Director Daniel Lucas is a graphic designer, web developer, and lead of special web projects at Stanford’s GSE. He is passionate about education and finds deep joy in collaborating with students to explore their passions and develop pathways to achieve their goals.

Assistant Program Director Jeff Masamori is a designer, photographer, and Art Director at Danner. He is honored to be a part of helping young artists realize their talents, create inspiring work, and develop creative and practical skills they’ll carry with them throughout their careers.

Workshop Director Blake Conway is a woodworker, artist, and Director of Problem Library.

Program advisor Tamara Chu is a developer, dancer, and multimedia artist working in San Francisco. She is interested in how art practices direct attention and expand the realm of the possible, and is excited to partner with students to conjure a more curiosity-driven world.

MENTORS

Current & former mentors include

Blake Conway, a visual artist and Director at Problem Library.

Madeleine Cordier, an interaction designer at Apple.

Lydia Horne, a mixed-media artist and writer.

Vanha Lam, a visual artist.

Peter Mark, an actor, 3D animator, and educator.

Maja Planinac, a fine art photographer.

Kateryna Romanova, a design strategist & human-centered product designer at IDEO.

Char Simpson, a non-binary artist, interactive writer, and creative producer.

Grayson Stebbins, a graphic/interface designer and product manager.

Danica Taylor, a digital & film photographer.

Jesse Wiener, a dancer and taiko drummer.

Problem Children is funded through private donations, student tuition, and has been partially supported by the CalArts Graphic Design Alumni association."]

[https://problemchildren.org/details/

"PROBLEM CHILDREN 2023 will run from June 10th to August 26th

The program for 2023 will be conducted in person at our workshop space in San Francisco’s Inner Sunset. One-on-one mentor meetings will take place online, while working sessions, workshops, and field trips will take place in person throughout the San Francisco bay area.

Group sessions take place on Saturday mornings, and bring together all students and mentors for reading discussions, presentations, and activities that create meaningful connections. One-on-one sessions are private meetings between students and mentors to work together on developing the students’ project. These are set up based on the schedules of mentors and students.

Workshops are unique opportunities presented by mentors that explore specific topics, tools, and concepts in depth. Field trips will see us visiting museums and galleries for special artist talks, guided tours, and other unique experiences only available to Problem Children students.

The PC Workshop is our name for the physical space which has dedicated working stations for each student. This gives students the opportunity to come in during open hours throughout the week to work on their projects, advance their knowledge, get to know each other, or meet with mentors. The workshop is home to many tools and materials for hands-on creating, as well as educational material, and support from mentors.

(from a student: "My favorite thing was probably the reading discussions. To this day there are points that were brought up in those conversations that I still think about." --Sophia)

AREAS OF FOCUS
We are accepting 6 students in total across all disciplines in the Visual arts.

The visual arts track is for students actively exploring the fields of Photography, Design (graphic & web), Illustration, Painting, Digital Art, Architecture, and Sculpture/Installation.

Applications are open through May 22nd, 2023, with video interviews taking place between February 1st and May 25th. We notify accepted students on a rolling basis, and our final day for notifications will be May 28th.

PROGRAM GENERAL OUTLINE

The program is divided into three mostly consecutive sections

We begin with a focus on readings, presentations, and group discussions that provide context and reference points to create a shared base of understanding.

The second section asks students to identify their interests and work with their mentor to create an actionable plan of experimentation and research that builds towards the creation of a final project. We have no guidelines on what a final project can be — this is up to each student to imagine, design, and create.
The final section is reserved for students to put in dedicated work towards their project, with space for presentations & critique from the larger group, and the communal production of a final exhibition.

REQUIREMENTS

Students will need to make it to our physical space in San Francisco’s Inner Sunset neighborhood (1288 15th Ave) every Saturday for the duration of the program. We allow up to 3 absences, and are flexible with travel plans or emergency situations.*

Aside from that, each student is required to have consistent access to a laptop or desktop computer, as well as a comfortable & quiet space for one-on-one mentor sessions. Students should also have a reliable way to get to San Francisco for working sessions and field trips.

If you would like to apply, but do not have access to a laptop, please let us know in your application.

*If you know you will miss more than four (4) sessions in total, please strongly consider your application.

TUITION & APPLICATION

Tuition for the 3-month program is $1200 and covers all program-related expenses: lunch during each required session, materials for projects, transportation for field trips, program materials (e.g. a reader and project planner) and other unforeseen expenses related to your project.

We highly encourage all interested students to apply regardless of financial means.

If the cost of tuition is a barrier we can discuss scholarships, payment plans, and reduced tuition opportunities with you and your family. We are committed to finding solutions to ensure every accepted student is able to participate in the program regardless of economics."]

[https://problemlibrary.org/problem-children

"Problem Children is a 3-month artist residency program open to high school students who are self-directed toward a future in art or design.
 
The program consists of structured practical and conceptual lessons for creating physical projects/installations, one-on-one mentorship, local field trips, and group exploration exercises.

Students are responsible for setting goals and direction, personally and as a cohort; shaping what concepts, tools, and topics are taught by mentors and guest visitors. Each student completes a final project based on these explorations and close collaboration with their mentor.

Program mentors are creative professionals with backgrounds in art, design and writing, who act primarily as guides to broaden the perspective of each student’s work and creative potential. Each mentor works closely with one student to develop their interests and produce a final project.

During the 3-month program students have full access to Problem Library resources, which include: tools and materials, mentor lessons and support, logistical considerations, gallery space and professional development training."]]]></description>
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<item rdf:about="https://problemlibrary.org/">
    <title>Problem Library</title>
    <dc:date>2023-08-16T07:45:24+00:00</dc:date>
    <link>https://problemlibrary.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Supporting a renaissance towards beauty, goodness and truth in art, culture and education.

At its center Problem Library is a perspective and value system of what we wish to see in the world. Below is a brief list of what we’re working on this summer and ways you can get involved in supporting the work we are doing."

[https://problemlibrary.org/organization

"Problem Library is building new programs in art, education, and cultural infrastructure. We support artists and creators in all stages of life as they work to solve the problems they see in the world.
 
We build pragmatic, operationally efficient experiments that provide examples of how we might approach complex problems in society.  We support exceptional creative work—our current focus tends to be on art, education and cultural infrastructure.

All our programs are designed to reach financial self-sufficiency over time. The motivation that begins each project is not. This turns out to be difficult. If we wish to see a wave of human ingenuity from a broader set of motivations, focused on a more expansive set of problems, we don’t see many alternatives.

Problem Library at its center is a perspective and value system of what we wish to see in the world. What is created, contributed, encouraged and loved that moves through time. The next great inventions will not be products or things at all. They will be systems and organizational structures that allow people to pursue novel areas of thought, education and creation over many years. We do not see enough defined pathways for people to pursue meaningful self-directed work. Maybe we don’t yet have a culturally articulated idea of a shared human task for our era.

Nobody asked us to start a non-profit so we don’t expect anything, however, we do need outside support in order to keep building. If inspired, we are are always excited to share more about what we are working on. To make a gift, cash or otherwise, visit our donate page here.

Commercial Work
We have a talented and experienced team of collaborators across every area of design, development, creative direction, marketing, entrepreneurship and business strategy. A few times a year we work with outside commercial clients to conceptualize and implement solutions in a creative consultancy and production role. These arrangements help fund our ongoing work and often tie into trends and approaches we use in our internal development. If you represent a company and have been referred to us: email blake@problemlibrary.org

Organization
Problem Library is directed by Blake Conway.
Problem Children is directed by Daniel Lucas with support from Jeff Masamori and Jess Wilson.
[working] is managed by Blake Conway.
Our web-based projects are designed and built by Daniel Lucas, with support from Tamara Chu.
Grayson Stebbins serves as President.
Board
Grayson Stebbins
Blake Conway
Daniel Lucas
Sharon Sheehan

Contacts
Director – blake@problemlibrary.org
Problem Children – daniel@problemlibrary.org
[working] – working@problemlibrary.org
Other – office@problemlibary.org

Supporters
Aaron Hui
Andres Kohn
Ben Zotto
Colin Fernandes
Dapo Onikuyide
Darryl Carbonaro
Emily Gui
EQ Office
Ian Long
Jeffrey Conway
Jennifer Ho
Jess Wilson
Joanna and Parker Hobson
Ken Rock
Kitty Carruthers
Kwabena Agyeman
Margherita and Loring Sagan
Mark Conroe
Mike Krieger
Monica Cuenca
Noreen and Jim Carruthers
Phillip and Sara Roliz
Sarah Wendell Sherrill
Sherri Martin (In memory of Nathan Michael Martin)
Sharon and Dennis Sheehan
Stephanie Cheng
Susan Tranbaugh
Tamara Chu
Vanha Lam"]]></description>
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    <title>CLASS–NOT–A–CLASS – This is not a class. It is an artwork.</title>
    <dc:date>2023-08-01T23:45:26+00:00</dc:date>
    <link>https://classnotaclass.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is not a class. It is an artwork. Even when it appears to have all the characteristics of a class (e.g. students, a teacher, a meeting time, a syllabus, assignments, a classroom space, grades, course credit, teaching and learning, etc.) it will never be a class. Much like René Magritte’s famous The Treachery of Images—where the viewers perception of a pipe is immediately rerouted to the obviousness of its being a mere picture of pipe—so will the participants of this class-not-a-class consistently oscillate between the appearance of a class and the pliable materiality of being in a class, at a specific time in history, in a location, focused on a specific topic, alongside a once-in-a-lifetime set of individuals. What this means is that this “class” is merely a set of materials and we—the participants—now need to decide what to do with that material."]]></description>
<dc:subject>altgdp unschooling openstudioproject lcproject learning education art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:220c9a65ca88/</dc:identifier>
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<item rdf:about="https://www.hauserwirth.com/resources/38890-education-lab/">
    <title>Education Lab – Hauser &amp; Wirth</title>
    <dc:date>2023-06-06T17:04:37+00:00</dc:date>
    <link>https://www.hauserwirth.com/resources/38890-education-lab/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Education Lab is part of Hauser & Wirth’s global learning platform that runs our projects for individuals, schools, students, special interest groups and families through a series of meaningful partnerships. Located in Menorca, Somerset and Los Angeles, each Education Lab is a collaboration with a local school or university, and aims to instigate a dialogue between art, artists and a diverse audience."

This year’s Education Lab at Hauser & Wirth Menorca has been created as part of a postgraduate student residency, with participants working with the gallery community and local entities to conceptualize a learning space and program that run alongside Rashid Johnson’s exhibition ‘Sodade’.

Find out more about our Menorca Education Lab here.
https://www.hauserwirth.com/news/38143-education-lab-returns-to-menorca-accompanying-rashid-johnson-sodade/
https://www.youtube.com/watch?v=J_cmazV5owg

Building on the success of Mark Bradford’s Education Lab in Menorca in 2021, 17 students from the Ramón C. Cortines School of Visual and Performing Arts based in Downtown Los Angeles have been working alongside Bradford and his team at Hauser & Wirth Los Angeles.

Find out more about our Los Angeles Education Lab here.
https://www.hauserwirth.com/news/37517-mark-bradford-inaugurates-new-education-project-in-los-angeles/
https://www.youtube.com/watch?v=6tv6ymr-YE8

Finally, Hauser & Wirth Somerset is celebrating its inaugural Education Lab in partnership with Arts University Bournemouth (AUB), inspired by the exhibition ‘Henry Moore. Sharing Form.’

Find out more about our Somerset Education Lab here.
https://www.hauserwirth.com/news/37777-somerset-education-lab-with-arts-university-bournemouth/
https://www.youtube.com/watch?v=eiHOKHJa2pg

Past Education Labs
Mark Bradford, Hauser & Wirth Menorca (2021)
https://www.hauserwirth.com/ursula/34940-nest-learning-mark-bradford-menorca-education-lab/ "]]></description>
<dc:subject>menorca losangeles openstudioproject education pedagogy art arts somerset hasuerandwirth markbradford rashidjohnson</dc:subject>
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<item rdf:about="https://www.krakkaveldi.com/">
    <title>kidarchy</title>
    <dc:date>2023-05-01T05:03:17+00:00</dc:date>
    <link>https://www.krakkaveldi.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kidarchy is an performance project created by children, for adults. Kidarchy thinks adults could benefit from listening more to children. Children are a third of the world’s population, yet have the least democratic power in our society. We are here to change that! We are children who want to affect the world. We want adults to trust us!

***

Where children rule, for better or for worse

Kidarchy is a performance-based project made by theater and performance makers Salvör Gullbrá Þórarinsdóttir and Hrefna Lind Lárusdóttir in collaboration with kids aged 7 - 12. The project’s aim is to imagine and create a new world where children rule everything instead of adults, for better or for worse.

Children are the group in society that has the least power, even though they are equally affected by decisions made by adults in power as other age groups. Kidarchy is here to change that, using performance and activism to make children’s voices heard and get involved with their own future.

All work by Kidarchy is made and organized by the children, and executed by them with adult help of the Kidarchy adults."

[See also:

https://www.instagram.com/krakkaveldi/
https://www.facebook.com/krakkaveldi

"What If The Kids Were In Charge? Introducing the key planks of Kidarchy’s platform"
https://grapevine.is/mag/2023/04/21/what-if-the-kids-were-in-charge-introducing-the-key-planks-of-kidarchys-platform/

"Kids Run the World: For Better or For Worse"
https://grapevine.is/mag/2023/04/18/kids-run-the-world-for-better-or-for-worse/

"The Islanders: Meet the President of Iceland"
https://www.youtube.com/watch?v=y0BiIH9O-qw

"Join a couple young journalists from Kidarchy as they travel to Bessastaðir to interview President Guðni Th. Jóhannesson. What's his favourite movie? Which football team does he cheer for? Does he have any special talents? Benóný and Eldlilja asked all the hard-hitting questions on everyone's minds."]]]></description>
<dc:subject>children iceland unschooling agesegregation ageintegration openstudioproject lcproject democracy society salvörgullbráÞórarinsdóttir hrefnalindlárusdóttir kidarchy</dc:subject>
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<item rdf:about="https://liberatorypractice.org/">
    <title>Center for Liberatory Practice &amp; Poetry</title>
    <dc:date>2023-04-30T01:45:47+00:00</dc:date>
    <link>https://liberatorypractice.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hello! Welcome to the Center for Liberatory Practice & Poetry, a nomadic education center that gathers a community of learners around ways of being, sensing, and making that enact liberation in everyday life.

To learn more about our work, please read our most recent publication, Weaving our Values & Practices, a collectively sourced, living and breathing set of agreements co-authored by our inaugral team of Weavers,* Denise Shanté Brown, Lukaza Branfman-Verissimo, Lizania Cruz, Kearra Amaya Gopee, Katie Giritlian, Lo, Georgia McCandlish, and Malcolm Peacock, in collaboration with workshop co-facilitator, Luz Orozco, and Founding Steward, Kimi Hanauer, co-published by MARCH.  

The Center was launched as part of We Use Our Hands to Support, an exhibition at Southern Exposure in 2021. In 2022, we hosted Chrysalis Sessions, a series of programs that activated if we choose to reclaim ourselves from the ashes, an exhibition at the University of California, Los Angeles. Other recent projects include, Parsing Our Exits as Care: Queer Funerals and Post-Life Practicalities by Emary Parisi with support from Harumi Miura and Bokeum Jeon and Straining Letters Into Noise, an annual publication produced by students of Kimi Hanauer’s Critical Inquiry seminar at Virginia Commonwealth University’s Department of Graphic Design. Through a partnership with Press Press, our work has been exhibited at Printed Matter’s NY Art Book Fair and the SF Art Book Fair in 2022.

Our website is currently under construction, please check back in again soon. In the meantime, you can visit our online store to support our work and follow us on Instagram. Thank you for being here and stay tuned for more soon. 

*Weavers is a term defined by Deepa Iyer and BuildingMovement Project in Mapping Our Roles for Social Change Ecosystems."]]></description>
<dc:subject>openstudioproject liberation poetry practice sensing being liberatory weaving deniseshantébrown lukazabranfman-verissimo lizaniacruz kearraamayagopee katiegiritlian lo georgiamccandlish malcolmpeacock</dc:subject>
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<item rdf:about="https://futuress.org/stories/letters-words-stories/">
    <title>أحْرُف وكَلِمَاتْ وقِصَصْ A Multi-Script Type Design Program</title>
    <dc:date>2023-04-05T16:45:55+00:00</dc:date>
    <link>https://futuress.org/stories/letters-words-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining a playground for collective archiving, researching and letter-making."]]></description>
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<item rdf:about="https://www.designacademy.nl/p/study-at-dae/masters/critical-inquiry-lab">
    <title>THE CRITICAL INQUIRY LAB - Design Academy Eindhoven - dae.wiki</title>
    <dc:date>2022-12-04T17:50:18+00:00</dc:date>
    <link>https://www.designacademy.nl/p/study-at-dae/masters/critical-inquiry-lab</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The department of The Critical Inquiry Lab is a two-year Master’s program that provides students with an environment to develop a self-directed design practice, driven by transdisciplinary research. We approach design as a mode of inquiry, where exploring research methodology is part of design. The aim of this program is to find new ways to assemble a more considerate, equitable and caring world.
This course description has been (re)written together with us, the current first year students.

The department is rooted in cultural analysis and design theory, questioning the role of design in relation to the structures, systems and relations that undergird our societies. It aims to navigate these waters critically and speculatively, while also striving towards a culture of care, both within the department and beyond.

“Lab” in the (current) department name does not refer to an actual laboratory, but rather seems to pay tribute to a trend in Eindhoven. The “Lab” stands for the spirit of experimentation, and pushing boundaries is encouraged by the department, even (and especially) if they challenge the overall approach of the Design Academy.

Entry points
We welcome diverse inquiries and we’re carefully looking for answers, without jumping to conclusions. While committed to critical reflection, we aim to suspend judgement, in order to search for ways to uncover the unexpected. As a student, you are encouraged to reflect, analyse, and respond to your surroundings, using different tools and methods that stem from art, design and curatorial practices, as well as more theoretical and socio-political fields of knowledge. We explore ways to sense and understand how complex systems and ideologies manifest in everyday life; in our social and material surroundings. The program encourages students to research the past, present and the future of a topic or theme and how their research resonates within communities of various backgrounds, helping the student situate their practice within a wider discourse.

Is this design? Perhaps. Does it have to be design? Being located in a Design Academy does not make it design. According to our creative director Joseph Grima we approach design here as a form of cultural critique. What that means is something we’re finding out. Your design is not my design.

Practices
The development of research methodologies is key to the program. Finding one’s individual voice, skill and tone of research within a collaborative collective, and how to communicate this to an audience, are at the core of the program. The Critical Inquiry Lab aims to continually broaden the understanding of how doing research through an artistic lens can unfold into different (design) interventions, cultural practices, strategic actions, performances, curatorial methods, publications and editorial positions.

We find it important to be aware of the role of the public in both the process and outcome of the learning practice. For instance, by working with an institute and publishing outcomes with an event or podcast. This attitude enables us to understand ourselves and our field of interests, and how this fits into a larger conversation on cultural production.

Curriculum
This is a two-year study program that results in a Master of Arts in Fine Arts and Design. Each year is divided into three trimesters. The first year enables you to get familiar with the academy environment and your working process with open-ended assignments. You will engage in various learning activities such as workshops, museum visits, theory classes as well as individual and group projects to put thoughts into practice. Each trimester has a set of tutors around a specific theme, giving the space to students with a multidisciplinary background to develop their projects according to their desired trajectories. The practice-oriented workshops focus on skills like radio-making, video-making, coding and other research methods.

Not all tutors “teach” in the classical understanding of a class. There will be lots of talking and debating in the beginning, possibly some sessions where the content feels irrelevant at first. The trimester ends with an evaluation, where we present either in a conventional format, or sometimes collectively put together a show. This is followed by a feedback session between tutors and students.

The main focus of the second year is to develop an extensive personal research project, resulting in a written thesis, alongside a work for an exhibition context.

In the second year, we can still enjoy the workshops, lectures and go on “field trips” with the first year students. There will be tutorial sessions on essential topics such as thesis writing and research archiving. It is also likely that we will visit the school less frequently, as we may decide to work on the thesis wherever else the research takes us. Our journey as a student ends at the Graduation Show during the annual Dutch Design Week.

The students
We welcome students from any professional background, what is important is that you want to question yourself and unpack the world around you. This course enables the student to develop a way of making sense of the world, rather than training for a specific job or field. Alumni land in diverse positions, from independent researcher, curator, editor, to roles at institutions or studios. The programme looks for a balance among many approaches, positioning between the general and specific, the abstract and concrete, thinking and doing. We encourage direct feedback and provide open channels of communication between the students and the tutors.

Although the structure of the programme is predetermined, the content is flexible and always open to accommodate our constructive suggestions. During the course, we are invited to reflect on and direct the kind of education we wish to receive.

The tutors
The Critical Inquiry Lab is a transdisciplinary study, which aims to foster in-depth research related to critical studies of race, gender, ecology, and others through artistic and design practices. This aim is reflected by the teaching team’s diverse professional background, knowledge and guidance. This is how we explore alternative roles and responsibilities for society in relation to material and immaterial ecologies that improve our coexistence with each other.

That is the ideal situation, but the reality is a work in progress. Tutors may not always be fully equipped to respond to the cultural backgrounds of all the students. We push the tutors to learn together with us, regardless of the present cultural biases. In the end, the selection of tutors is still bound by the fact that the programme takes place at the Design Academy in Eindhoven, in the Netherlands.

Conditions at DAE
DAE is a small academy that occupies six floors of an old factory building in downtown Eindhoven, a provincial post-industrial city branded as the Brainport of the Netherlands. The layout of the school is inspired by the pedagogy of the Bauhaus. There are no classrooms; all departments of the master programme share an entire floor as one open space, divided by shelves and partition walls. The school was the cradle of the Dutch Design tradition. With this heritage in mind, this department tries to push topics that are on the periphery of the discourse and open up questions relating to knowledge production.

It may get noisy and distracting, but from a more positive perspective, it can help us inspire each other and encourage interdepartmental exchange. The academy’s small size is reflected in its administrative capacities. It’s possible that you’ll get frustrated with late responses. However, you’ll learn that the receptionist is DAE’s generous FAQ page.

Acknowledgements
This collaborative course description was initiated by coordinator Gijs de Boer, written as a collaboration between the head of department Saskia van Stein and first year students (2021-2022) of the Critical Inquiry Lab department. Special thanks to students Anas Chao and Eva Mahhov for their contribution.

The department builds on the curriculum and legacy of the heads of its predecessor, Design Curating and Writing (2015-2019), headed by Agata Jaworska and Tamar Shafrir (2018–19), Alice Twemlow (2017–18) and Justin McGuirk (2015–17)"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=uvw3qM5zCy0">
    <title>Anti-Capitalist Chronicles: Pedagogy of the Emancipated Laborer - YouTube</title>
    <dc:date>2022-12-02T01:47:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=uvw3qM5zCy0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[S4 E19] Pedagogy of the Emancipated Laborer

As more and more people begin to recognize the pitfalls of the systems we're entrenched in—capitalism, neoliberalism, consumerism, and more—we are often left without clear directions for instilling change. In this episode of Anti-Capitalist Chronicles, Prof. Harvey addresses the question he is so often asked, and often asks himself: “What should we do?” Harvey urges us to begin by looking at our individual situation, particularly five aspects: quality of life in the household, nature of the labor market, experience in the workplace, experience as money manager, and experience as buyer in the money market. The pedagogy of the emancipated laborer involves situating ourselves in those five aspects of society, connecting with others on the local level who are situated around us, and building collectively."]]></description>
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<item rdf:about="https://virginiasolesmith.substack.com/p/school-lunch-again#details">
    <title>It's Time to Talk About School Lunch (Again)</title>
    <dc:date>2022-10-03T19:01:04+00:00</dc:date>
    <link>https://virginiasolesmith.substack.com/p/school-lunch-again#details</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When lunch is free for everyone, then the kids who need free lunch aren’t stigmatized by the kids who don’t."

...

"So why aren’t more parents—especially progressive parents—sending their kids to the lunch line? Diet culture has taught us that school lunches aren’t good enough for our kids."

...

"We still need to be thinking of lunch as a school community event that we all participate in and work on."

...

"We can define a healthy lunch as a meal that kids are able to navigate themselves, as a meal where they share food with their community, as a meal where they can get full enough and get the energy they need to learn and play the rest of the school day."]]></description>
<dc:subject>virginiasole-smith 2022 lunch lunches schools eating food parenting children community lcproject openstudioproject 2021 pandemic freelunch freelunches education health hunger poverty inequality inclusivity inclusion participation dietculture</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=DRYgY9yO5gc">
    <title>The Un-Private Collection: Hank Willis Thomas + Robin D. G. Kelley - YouTube</title>
    <dc:date>2022-09-20T01:56:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=DRYgY9yO5gc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist/activist Hank Willis Thomas will speak with his mentor and former teacher, UCLA professor and noted author Robin D. G. Kelley about Thomas’s art practice and his activism as co-founder of the organization For Freedoms. The Broad recently acquired  America (2021) by Thomas, which is on view along with his work 15,580 (2017), 2018 in The Broad’s special exhibition This is Not America’s Flag from May 21 through September 25, 2022. In America, Thomas dismantles the US flag, reforming its red and white bars to spell “America,” prodding the inequity present in the fabric of the nation, past and present. In 15,580 (2017), Thomas commemorates victims of gun violence, each star representing a life lost in the United States in 2017."]]></description>
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<item rdf:about="https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f">
    <title>O Caminho do Sertão: pelas veredas de Guimarães Rosa | by Roteiros Literarios | roteirosliterarios | Medium</title>
    <dc:date>2022-09-09T18:35:08+00:00</dc:date>
    <link>https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nonada. É a primeira palavra que aparece em Grande Sertão: Veredas, de Guimarães Rosa e, ao longo das mais de seiscentas páginas, soma mais seis ocorrências. Antes de fechar o livro ela aparece de novo, na penúltima linha da última página.

[image]

Nonada é “coisa sem importância, um quase nada” e sai da boca de um jagunço e vai ganhando significado enigmático, assim como muitas outras palavras do livro: se mostra hora coloquial e quase banal, hora estranha e enigmática.

Esta tensão entre o corriqueiro, o popular, o cotidiano por um lado e o estranho, o enigmático, o hermético, por outro lado, é também uma característica do romance todo.

Além disso, Nonada é também o antônimo ao último sinal gráfico do livro, que é o símbolo do infinito. Assim, o movimento da trama e das ideias de certa maneira vai do quase nada ao infinito.

[image]

Ler Guimarães é sempre uma viagem muito grande. Grande Sertão: Veredas pega o leitor pela mão e o convida, literalmente, para um roteiro literário pelo interior das Minas Gerais, uma caminhada. O projeto O Caminho do Sertão [https://pt-br.facebook.com/caminhodosertao ] aproveitou esse universo roseano e concretizou essa travessia.

[image]

O Caminho do Sertão é um grupo que percorre anualmente a pé parte do caminho realizado por Riobaldo, personagem central do livro Grande Sertão: Veredas.

Oferece uma imersão no universo de Guimarães Rosa, na literatura, na geografia, nos saberes e fazeres dos habitantes dos vales dos rios Urucuia e Carinhanha, no noroeste e norte de Minas Gerais.

Na edição de 2016 que aconteceu em julho, a jornada bateu os 160km, pelos vales dos rios Urucuia e Carinhanha, percorrida a pé durante 7 dias. Saiu de Sagarana (distrito pertencente a Arinos/MG) e foi ao Parque Nacional Grande Sertão Veredas (Chapada Gaúcha/MG).

É uma jornada literária “de Sagarana ao Grande Sertão: Veredas” que leva os caminhantes desde sua primeira obra em prosa até a mais importante das obras de Rosa.

[image]

O esquema é simples: caminhada durante o dia, pouso à noite em pontos pré-selecionados, todo mundo em barraca. “Os pousos selecionados permeiam as rotas, nos mantendo em distâncias que medem entre 20 e 40 quilômetros uns dos outros”, contaram os organizadores.

“Nesses pousos, geralmente pequenas vilas, e/ou fazendinhas, organizamos uma dinâmica de camping, onde posterior à caminhada do dia cada caminhante monta sua barraca e a desmonta na manhã do dia seguinte (por volta de 4h). Nestes pousos há uma estrutura organizada de alimentação, banhos e interações variadas. Ah! Os caminhantes não levam suas mochilas e barracas nas costas, há transportes específicos para elas, que seguem diretamente para os pousos”.

https://vimeo.com/129214018

"Paulo Silva Jr. participou da caminhada em 2015 e conversei com ele para investigar um pouco mais sobre a relação da obra durante a andança, queria saber como Guimarães aparecia por lá.

“O itinerário é mais simbólico”, ele contou. “E a partir daí, Guimarães Rosa vai surgindo nessas imagens — o buriti, a vereda, o Vão Dos Buracos. Vai surgindo também com a contação de história, em rodas de conversa, com ouvir aquelas pessoas falando. Também nas referências todas, os idealizadores do projeto são seguidores do Rosa, a literatura está ali na formação daquelas iniciativas locais. E, claro, na coisa pessoal dos caminhantes, muita gente lendo os livros, falando sobre a experiência da leitura, compartilhando interpretações (afinal é o dia todo andando e trocando ideia)”.

Também fiquei curiosa sobre o perfil de quem faz a caminhada. Ele conta: “Fiz grandes amigos lá, gente que está junta até agora em andanças e ideias por aí, e dos mais variados perfis.

<blockquote>Eu diria que o nome do Rosa está no centro de tudo, ao menos que de forma simbólica, então sinto que as pessoas (as que não conhecem a região, claro, que é a esmagadora maioria) vão com esse imaginário do Rosa. Então, a partir dessa imagem da literatura vai saindo um leque de assuntos que se cruzam ou circulam essa ideia central: as questões ambientais (preservação ambiental, direito à terra, direito à água, retorno ao campo, agricultura familiar, orgânicos, pancs), artísticas (literatura, cinema, fotografia, teatro, enfim, gente procurando reverberações desse sertão do Rosa) e em algum ponto espirituais (não tenho uma palavra melhor, mas diante de toda a vertigem causada pela obra e pelo imaginário de sertão tem uma onda, uma magia, um mistério no ambiente, né)”.</blockquote>

“Em comum, são todas pessoas que em algum momento se encontram numa certa falta de lugar no mundo, questionando educação formal, mercado de trabalho e seus derivados, afinal é gente a fim de tirar 10 dias da vida para andar pelo sertão, já tem um recorte de intenção aí, então acho que a proposta junta uma galera que tem essa abertura do encontro espontâneo”.

[image]

Ele continua: “Eu diria que, como fala o projeto, é um encontro sócioecoliterário. Tem a literatura — muito, não dá para não ter -, mas não é um encontro literário”.

<blockquote>Como me ensina um amigo de Caminho do Sertão, o Gabão, eu acho que é a literatura enquanto mediação. No limite, essas pessoas não se reuniriam para andar até um buriti ou uma vereda no noroeste de Minas. Então a literatura taí, a arte nos movimentos, mediando essa nossa conversa, por exemplo”.</blockquote>

“Agora, existe todo um cenário político local de militância social e cultural que acabam também sendo apresentados. A folia de reis, por exemplo, é uma grande influência e eixo do debate — o caminho poderia ser visto como festa popular, também. Não é uma roda de conversa nem um grupo de leitura ou vivência do Rosa, é também esse encontro com esse lugar que é o sertão mineiro”.

[image]

Eu, que sou grande fã do livro e do Rosa, não poderia terminar a conversa sem a pergunta do milhão pro Paulo, né. E aí, essa tal de Nonada, como fica nisso tudo? Passou a ter outro significado depois dessa travessia?

“Não sou especialista, nem grande leitor do Rosa, muito menos estudo o assunto para valer, mas diria que o que faz da literatura dele uma coisa única são exatamente essas tensões em que ele consegue ser ao mesmo tempo simples e enigmático. É o nonada e o infinito. O grande livro brasileiro e um dos que mais carregam o peso do ‘difícil’ é definido por seu autor como um ‘monólogo dum jagunço’. Aí que está, o nível de complexidade da narrativa refletindo na simplicidade de você ouvir um homem do campo contando uma história.

“Então acho que sim, a caminhada me ajudou a pensar em outras coisas a respeito dessa desimportância. E o grande efeito de estar lá vale, primeiro, por ser um escritor onde o espaço é muito importante, as pessoas estudam a terra do Rosa, ele forjou um lugar e há uma série de pequenos lugares em Minas Gerais com suas narrativas de pertencimento sobre o tema (lembrei de um debate entre o José Miguel Wisnik e Dieter Heidemann porque disseram que tanto Rosa quanto Drummond revelaram que o primeiro estalo literário que tiveram foi numa aula de geografia, e o Rosa, um tarado por mapas e referências especiais, vai lá e faz esse livro labiríntico); segundo, é conhecer esse lugar que não só foi forjado pelo Rosa como também vive sob mediação do Rosa sem necessariamente ter lido a obra! Essa é uma pira, porque é uma região em que o Rosa está vivo, dando nome para a estrada, para o encontro dos povos, reunindo caminhantes, enfim, ele é um agente social e cultural do lugar; mas claro que não é um livro fácil para todo mundo sair lendo”.

[image]

No meio dessas ideias todas, também vale pensar na função intrínseca de um roteiro literário como esses.

Acho que a grande experiência é sacar a literatura como mediadora e, mais, agente de um lugar. É criar relações que se dão em torno disso. Se na vida criamos vínculos majoritariamente por influência geográfica, familiar, de trabalho ou de ambiente escolar, aqui o vínculo entre os caminhantes vai se dar pela literatura. Acho que isso é a coisa mais impressionante que me rendeu vivenciar literatura na pele, exatamente o fato de poder ver o mundo e estabelecer relações a partir daí. E, por fim, ter mesmo que de forma efêmera e talvez micro a literatura enquanto protagonista, a arte como fim de estar vivo, definitivamente”.

QUEM FAZ O CAMINHO
O Caminho do Sertão é realizado pela Agência de Desenvolvimento Integrado e Sustentável do Vale do Rio Urucuia com apoio da Secretaria de Estado de Cultura de Minas Gerais, em parceria com o Instituto Cultural e Ambiental Rosa e Sertão, o Centro de Referência em Tecnologias Sociais do Sertão (Cresertão), a Cooperativa de Agricultura Familiar Sustentável com base na Economia Solidária (Copabase), a Central Veredas e a equipe ECOS do Caminho do Sertão.

A organização da caminhada contou que o projeto nasceu ao longo do ano de 2013 (a primeira turma saiu em 2014) e a ideia foi anunciada oficialmente dentro da programação do Festival Sagarana, um festival de arte e cultura sertanejas produzido na Vila de Sagarana — Arinos/MG). Sua organização foi pensada e gerida por entidades que trabalham o desenvolvimento social e a agricultura familiar na região noroeste do Estado.

COMO FUNCIONA
Todo ano, o Caminho divulga o edital no site [https://pt-br.facebook.com/caminhodosertao ], uns dois meses antes da data de saída. Em 2016, foram aprovados 70 caminhantes. Além de preencher a ficha de inscrição, os candidatos precisam enviar uma justificativa, contando porque querem fazer a caminhada e qual seu envolvimento com aquilo.

Durante a organização da terceira edição d’Caminho cerca de 10 pessoas se envolveram na coordenação, mas a produção geral, juntamente com parceiros de diversas regiões do país, e claro da região, somaram mais de 30 pessoas responsáveis pela execução do projeto.

Muitos destes parceiros se envolvem no mundo literário como curiosos, outros amantes, e boa parte de pessoas que de fato, vivem à dinâmica do sertão, literatura vívida. Na coordenação geral, efetivamente todos mantém uma aproximação com a literatura roseana.

PARA LER
· Grande Sertão: Veredas, de João Guimarães Rosa (Editora Nova Fronteira)
· Sagarana, de João Guimarães Rosa (Editora Nova Fronteira)"]]></description>
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    <title>Pelin Tan: Decolonizing Architecture Education - YouTube</title>
    <dc:date>2022-08-04T21:29:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=DgWyGHrFGxs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[slide from early in the talk:

"What is a collective process of education?
a destruction of hierarchy of dualist structures between teacher and student, teaching and learning.

Collective self-teaching, learning by acting together, rejecting the gab between theory and practice, deconstructing terms in education that are sustained by institution upside down, preserving traditional knowledge from earth and nature"]

"Pelin Tan speaks on Decolonizing Architecture Education, as part of the weeklong workshop and seminar series Toolkit for Today: Activisms. 

To learn more: https://www.cca.qc.ca/en/events/59715/pelin-tan-decolonizing-architecture-education

Tan is a sociologist, art historian, and was Associate Professor and Vice Dean of Architecture Faculty of Mardin Artuklu University from 2013 to 2017. She was subsequently a fellow of BAK, in Utrecht, and will begin an appointment as Visiting Professor at the University of Cyprus, in the fall of 2018. She is involved in artistic and architectural projects that focus on urban conflict, territorial politics, and the conditions of labour."]]></description>
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<item rdf:about="https://futuress.org/magazine/institutional-frictions/">
    <title>Institutional Frictions</title>
    <dc:date>2022-04-14T18:42:13+00:00</dc:date>
    <link>https://futuress.org/magazine/institutional-frictions/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reflecting on the possibilities and challenges of bringing activism into the design classroom"

...

"Tanveer Ahmed: Sharing power sometimes means letting it go completely. I used to teach these community Fashion and Textile classes in a space called Community Focus in North London. I came prepared with ideas of what I was going to do with students, but I could see that people weren’t listening. Suddenly, someone raised their hand and said, “Look, we just come to this fashion class to do our projects, and to have a cup of coffee with friends. You know, carry on getting paid, but just leave us alone.”


This was such an important lesson—to actually listen. I had to let go of all the ideas. I had to be led by the students, to do what they wanted to do. From a pedagogical perspective, I think that’s something we can all learn from—to be led by students. But obviously, in today’s marketized universities, the question is: to what extent can we achieve democratic forms of design education? Community spaces are much better equipped for this pedagogy."]]></description>
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<item rdf:about="https://futuress.org/magazine/please-say-more/">
    <title>“Please Say More”</title>
    <dc:date>2022-03-09T22:56:54+00:00</dc:date>
    <link>https://futuress.org/magazine/please-say-more/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bec Wonders on the Vancouver Women’s Library, the legacy of feminist archives, and the complex history of female conflict."

...

“Often when you have a disagreement with another woman, especially in a feminist context, it feels like this is the first time it’s ever happened [...]. Something about reading those magazines made me realize that it’s just inevitable that women disagree. We’re always gonna disagree, cuz we’re different!”

...

“When I’m going into an archive, I’m relating and speaking to the women in that material. It’s a way for me to bridge that generational divide.”

...

“In her book Feminist Literacies, Kathryn Thoms Flannery talks about feminist periodicals being like counter institutions to the university because women were teaching themselves everything. The feminist periodical functions as a pedagogical tool of teaching each other, but also mostly teaching yourself about something. You wanted to write a response to some woman talking about socialist feminism, or whether we should allow men into the movement, and in crafting that response you are actually teaching yourself, and you are learning your position on the subject. It allows for a lack of categories and categorical positioning, which we can get trapped in so often.”]]></description>
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</item>
<item rdf:about="https://emergentworks.org/">
    <title>Emergent Works</title>
    <dc:date>2022-01-31T05:06:12+00:00</dc:date>
    <link>https://emergentworks.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are a community of software developers, designers, product specialists, and" committed citizens working to build responsive software and community programs that address the most pressing challenges faced by organizations, and our society today.

We envision a world where tech literacy, education, and skills-based training are freely available to the individuals and communities, disproportionately of color, impacted by mass incarceration.

We realize this vision through our in-house software development agency and strategic educational programming that provides mentorship and a pathway to careers in tech to these communities."

...

"Emergent Works is a community of people who learn, use, and build technology as a means of liberation. We bridge the gap between the tech industry and historically underserved communities impacted by mass incarceration by offering free access to the technology, education, and resources necessary to enter into careers in tech.

EW employs a multi-pronged strategic approach to bridge this gap and to generate large-scale systemic change in the opportunities available to returning citizens.


EW provides digital literacy and software development training to returning citizens by pairing them with senior software engineers through our mentorship program. Over four months, participants gain access to a supportive community of learners and professionals, educational resources, and our tech industry network to support them as they embark on their journeys to careers in tech.

EW augments the mentorship program by equipping participants with lifelong access to our online and in-person community and resources. We support alumni in securing jobs, apprenticeships, and further educational pathways through our partner organizations. The relationships and bonds that form during the mentorship program provide our community members with the requisite care, support, and resources they need to overcome the challenges that returning citizens often face. Access to this community means that mentees are provided with support, guidance, and the assurance that a community of like-minded and experienced technologists will be there to answer their questions throughout their journeys.

EW further supports our community through the Emergent Works Agency Engineering Leadership Program. During the program, associate software engineers with a history of incarceration are mentored by our team of senior software engineers and tech industry veterans. Throughout this program, associate engineers explore the full gamut of practical, on-the-job experience, contributing production code on numerous agency software development projects.

EW’s holistic programming model provides exposure, support, and access to opportunities necessary for returning citizens to forge successful pathways into life-sustaining careers as software engineer and technologists."]]></description>
<dc:subject>design digitalliteracy openstudioproject software computing mentoring mentorship technology community</dc:subject>
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<item rdf:about="https://www.bbc.com/future/article/20220105-the-arctic-parenting-style-that-fosters-resilience">
    <title>The secret of Arctic 'survival parenting' - BBC Future</title>
    <dc:date>2022-01-19T21:54:59+00:00</dc:date>
    <link>https://www.bbc.com/future/article/20220105-the-arctic-parenting-style-that-fosters-resilience</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Missionaries who visited the Arctic in the 18th Century and later, wrote in their diaries that it seemed like Sámi children could do whatever they liked, and that they lacked discipline altogether.

However, as research increasingly reveals, the seemingly rule-free Sámi way of child-rearing has its own intricate structure and philosophy. Over time, this unique parenting style has evolved to prepare children to cope with the extreme challenges of life in the Arctic – and foster a particular kind of resilience.

One of its guiding principles is that rather than following a fixed schedule, the whole family adapts to whatever tasks need to be carried out, be that earmarking, travelling or other joint activities. Within that framework, children make their own choices.

"They eat when they are hungry and go to bed whenever they are tired," says Tytti Valkeapää, a mother of six children, ranging in age from 8 to 18, who lives in the northern Finnish village of Kuttanen, by the border with Sweden.

While Valkeapää is not Sámi herself, she adapted to the local way of life after marrying into a Sámi reindeer-herding family. Like the vast majority of Sámi, her family is no longer fully nomadic, instead travelling widely by snow-mobile, which has transformed the lives of reindeer herders and allowed them to become more settled. But although they mainly live in a house, traditional activities such as the earmarking ritual still shape the family's rhythm.

The earmarking process takes several weeks and is only carried out at night, when it is still bright but cooler than during the day. This makes it less stressful for the reindeer and their calves. To be able to carry out the work together, the entire family switches sleep cycles, reversing night and day. Children are up and awake working and playing all night, for weeks at a time, together with their extended families and fellow herders. They nap during the day, curling up and dozing off whenever they feel like it.

"Me and the children can nap on an all-terrain vehicle, snow mobile, under a rain cover in a trailer or our van," Valkeapää says. "You just need to be able to rest and eat whenever you can. During the earmarking, children used to like to sleep in a lávvu (tent) although nowadays we have a little hut there."

For Valkeapää, cultivating flexible sleep habits from the start is the best way to help children cope with the extreme Arctic seasons. In fact, residents of the Arctic generally sleep less during the summer and longer in the dark, long winter, when levels of melatonin, a sleep-inducing hormone, rise.

"Changing their sleep rhythm comes naturally for children with seasonal changes. I never had to try and force it, because we have been lucky enough to live on our children's terms," she says. "During the earmarking, children take part in the work and when they don’t, they play outside by the corral. I guess they don’t get sleepy when there is so much to do, and they want to be involved."

However, the busy summer nights sometimes make her yearn for the dark autumn evenings: "It is easier now that they have grown up a bit but still there has never been a situation where all the children would go to bed at the same time."

In the summer, during the bright Arctic nights, it is also normal for older children of 12 or so to go fishing with their friends at night, and only come home in the early morning hours.

This autonomy contrasts with the kind of time-intensive, intensely child-centered parenting style that has been on the rise in many societies around the world. But even when compared with nearby communities, such as non-Sámi Norwegians, Sámi families are distinct.

One comparative study in Norway found that Sámi children were "more socially independent than their Norwegian peers", and that "self-regulation of food and sleep were commonly practiced in the Sámi, but not in the Norwegian families". Sámi children were also expected to regulate and control their own emotions, a pattern that is common in circumpolar communities, according to the study. Another study identified independence and hardiness as core values of Sámi parents, among others.

"In Sámi pedagogics, it is a central thought that adults don’t do everything ready for children," says Rauni Äärelä-Vihriälä, an associate professor of Sámi pedagogics Sámi University of Applied Sciences in Norway, Guovdageaidnu, and Sámi mother of two. "In Western thinking it is often expected that adults give the tasks and assignments, whereas for us, the action is based on freedom, whether the question is about changing sleeping cycles, choosing hobbies or something else. The adults can’t just tell [the children what to do] and set the boundaries. Also, we don’t plan things that much. Things happen when they happen [in nature]."

Time is an important part of this philosophy: "We believe that children must be given time to think and express their opinions, and they also need to fail to learn." She quotes a Northern Sámi expression: "Gal dat oahppá go stuorrola", meaning "He/she will learn when he/she grows up."

Another common saying among Sámi parents, "ieš dieđát", meaning, "you know it yourself", also encapsulates that mindset. Sámi parents may for example say this when a child insists on going out into the cold in light clothing, as the child will discover for themselves whether they should put on more layers.

Asta Mitkija Balto, a professor emerita of pedagogy at the Sámi University College in Norway, argues in a research paper that the main goal of Sámi child-rearing is to "prepare children for life and develop independent individuals who can survive in a given environment, and to give the children self-esteem and zest for life and joy."

Part of this is a Sámi concept called "birget", meaning to cope or to manage both independently, and with others. The strategies used are often indirect, avoiding confrontation, argues Balto, who is Sámi. Sámi parents, and especially fathers, may for example wait for a moment when the joint focus is on something else, such as gazing into a fire, in order to discuss a difficult subject without creating a sense of confrontation.

However, despite this independence, a set of social norms and duties shapes Sámi life from the start.

"Traditionally, a child gets to take responsibility in many kinds of work relating to reindeer herding and feel proud about it. Primarily, one is not an individual but a member of an extended family that one has responsibility for," says Äärelä-Vihriälä.

Sámi children learn to use sharp knives, make a fire, and orient themselves in nature, skills that are essential for survival in the Arctic, but also have a social dimension. They must also be able to mark and identify reindeer. Some especially respected reindeer herders are known for remembering and recognising thousands of earmarks.

"Surviving or doing well in life, in the eyes of the community, has nothing to do with making money or a fine career but more with the survival skills. Besides surviving in nature, one must also get along with different kinds of people in different kinds of environments. A Sámi child grows into thinking that people are all different and one must always be inventive. I would say it is very tolerant," explains Rauni Äärelä-Vihriälä.

Today, these ancient skills can still be useful. One study suggests that knowing the Sámi language, and being connected to their extended families and cultural traditions, is linked to greater resilience and wellbeing in Sámi children and young people. More generally, research suggests that developing problem-solving and self-regulation skills with the support of a caring family, can foster resilience in children. 

One way of subtly enforcing cultural norms is a Sámi parenting practice called nárrideapmi, a kind of playful teasing. This has also been observed in other indigenous circumpolar peoples, such as the Inuit, but not in mainstream Scandinavian cultures. The purpose of nárrideapmi is to boost a child's self-esteem, and encourage them to control themselves better and not take themselves too seriously. Nárrideapmi is usually practised by close family members such as aunties and uncles, not necessarily the parents. They must know the child well and ensure they never say something really hurtful, or bully the child, explains Rauni Äärelä-Vihriälä.

"For a teenager it can be something about girlfriends or boyfriends, whereas for smaller children it could relate to dressing up, for instance. If I notice that my child has not worn enough warm winter clothes, I can ask her whether she is going to the tropical beach or something. Then you kind of expect a child to react and joke something similar back to you. That also makes the child realise herself what she needs to do, and it encourages to think for herself. It is again quite indirect," she says.

Some Sámi parenting traditions are embedded in the Sámi languages, a group of related languages still spoken by about 25,000-35,000 people.

Sámi languages still use the dual form, a form that was also once known in Old English, Ancient Greek and Old Church Slavonic. It refers to two people doing something, as in the Northern Sámi phrase "Moai manne", "we two go". According to Äärelä-Vihriälä, Sámi parents often use the dual form: "If a child pees himself, we might say that: 'Oh, did we (two) pee ourselves, shall we (two) clean this up?' Or we can say: 'Oh we (two) are not used to doing this'. In that way we can turn the child’s attention elsewhere without blaming and criticising."

Even as more Sámi adapt to urban life, some retain certain ancestral parenting principles.

Laura Kallioinen, a teacher and a mother of three, is a Sámi woman who grew up in the northernmost village of Finland, Nuorgam, on the border with Norway. Today she lives with her family in Jyväskylä, a city in the western part of the Finnish lake district. The family tends to spend every holiday in Nuorgam, where the children stay up until the morning if they want to.

Asked about her about their routines, Kallioinen laughs: "Oh what, routines? We don’t have any." This sets her apart from her non-Sámi neighbours in the lake district: "I don’t think I know any other family in this area who don’t have a fixed dinner time." She emphasises that her children never go hungry, and there is always food available – they just don't follow a schedule: "Sometimes I try, but it just doesn’t work."

She also feels that her more southern neighbours draw a distinction between different family activities in a way that doesn't exist in Sámi culture: "One thing I have also noticed is that here people really invest into the 'quality time' they spend with their family. I don’t really understand that, for us it means like going to the forest to pick berries or going ice fishing, normal things."

Yet she admits the city environment has made them adapt their ways. "My daughter just said she would like to wear comfortable outdoor clothes what people wear all the time in Nuorgam, but she does not know if she is too embarrassed to do that here. I don’t really care about what people think, I always wear according to the weather anyway."

For Kallioinen, supporting her children's Sámi language skills has been the most important way to stay connected to her homeland, culture and relatives, and raise children with a strong Sámi identity."]]></description>
<dc:subject>sámi children parenting culture arctic unschooling deschooling agesegregation 2022 resilience time sleep purpose interdependence independence schedules rules seasons place place-basedlearning howwlearn learning education autonomy families family horizontality lcproject openstudioproject canon sami place-basedpedagogy place-basededucation saami land-basedlearning land-basededucation</dc:subject>
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<item rdf:about="https://rarefilmm.com/2020/11/food-1972/">
    <title>Food (1972) – rarefilmm | The Cave of Forgotten Films</title>
    <dc:date>2022-01-10T03:26:34+00:00</dc:date>
    <link>https://rarefilmm.com/2020/11/food-1972/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This film documents the legendary SoHo restaurant and artists’ cooperative Food, which opened in 1971. Owned and operated by Caroline Goodden, Food was designed and built largely by Matta-Clark, who also organized art events and performances there. As a social space, meeting ground and ongoing art project for the emergent downtown artists’ community, Food was a landmark that still resonates in the history and mythology of SoHo in the 1970s.


Director: Gordon Matta-Clark."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Rkw4-7HylUY">
    <title>ETHOS - Richard Rogers: Inside Out | RSHP - YouTube</title>
    <dc:date>2021-12-21T22:06:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Rkw4-7HylUY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A short monologue from Richard Rogers explaining his ethos."

[See also (about the watch, Bulova Accutron Spaceview, specifically):

https://www.accutronwatch.com/

"The watch that inspired Richard Rogers’ Centre Pompidou gets a timely update
Richard Rogers looked to his treasured Accutron watch when it came to designing the Centre Pompidou"
https://www.wallpaper.com/watches-and-jewellery/accutron-spaceview-richard-rogers-watch-update

"REINVENTING TIME: The Original Accutron
How a humming movement changed wristwatches forever."
https://www.hodinkee.com/articles/reinventing-time-original-bulova-accutron

"RECOMMENDED READING Architect Richard Rogers On Humanistic Design And The Accutron Spaceview
One of the world's most eminent architects talks about a watch he's worn for 44 years – and it's an Accutron."
https://www.hodinkee.com/articles/architect-richard-rogers-on-humanistic-design-and-the-accutron-spaceview

"INTRODUCING The Electrostatic Accutron Concept Movement, Released Ahead Of Accutron's 60th Anniversary"
https://www.hodinkee.com/articles/bulova-accutron-spaceview-from-the-days-of-flying-wild-in-the-70s

"FOUND A Bulova Accutron Spaceview From The Days Of Flying Wild In The '70s"
https://www.hodinkee.com/articles/bulova-accutron-spaceview-from-the-days-of-flying-wild-in-the-70s

"The Coolest Iconic American Watch - Bulova Accutron Spaceview 214 Review, Sir Richard Roger's Choice"
https://www.youtube.com/watch?v=84u0_MTIic4

(previous one via
https://twitter.com/brendandawes/status/1379845348148056069 )

"Accutron and the Spaceview. A short history."
https://www.youtube.com/watch?v=BtRnEEr0-CI

"How this Electrostatic Watch Works - Watch and Learn #84"
https://www.youtube.com/watch?v=cFy0OxjUK1w

<blockquote>Today we are checking out the worlds first Electrostatic watch, the Accutron 2020 Spaceview from Bulova. Powered by twin turbine generators, and containing two separate driving motors, this watch is truly a conversation piece as well as a time piece.</blockquote>

"Talk to me about the Accutron Spaceview 2020…"
https://www.fellows.co.uk/blog/watches/2021/12/07/talk-to-me-about-the-accutron-spaceview-2020/

"The Accutron Revolution - Accuracy Through Electronics 1960-1977"
http://www.decadecounter.com/accutron/history.htm

"The new Accutron and other electric powered movements"
https://www.thewatchhand.com/stories/accutron-and-other-electric-powered-movements/

"Accutron Spaceview - Review of an Iconic Watch!" (Killing Time with Norman)
https://www.youtube.com/watch?v=BpyaqnGod-g

"Accutron Spaceview History"
https://www.accutron214.com/accutronspaceviewhistory.htm

"Why Do Collectors Go Crazy For The Accutron Spaceview?
As the ground-breaking timepiece continues to explore new technologies, it has fueled an ever-growing fan base."
https://www.watchonista.com/articles/depth/why-do-collectors-go-crazy-accutron-spaceview

"The Accutron Is the Ultimate Geek Watch—and It's Coming Back
October of 2020 brings very good news for timekeeping nerds."
https://www.esquire.com/style/mens-accessories/a33807766/accutron-space-view-watch-review/

"Bulova Accutron Spaceview"
https://shop.analogshift.com/products/bulova-accutron-spaceview

"This Space Age Technology Was a Watchmaking Milestone in 1960
The Bulova Accutron Spaceview, replete with incredible accuracy and a space-age look, represented a technological milestone that foreshadowing quartz watches."
https://www.gearpatrol.com/watches/a664506/watches-you-should-know-bulova-accutron-spaceview/

"Review: The Accutron DNA - Worn & Wound"
https://wornandwound.com/review/review-the-accutron-dna/

"Accutron Watch" (Cooper Hewitt)
https://collection.cooperhewitt.org/objects/18767221/

"Accutron: The Rebirth Of An Iconic American Watch Brand"
https://www.youtube.com/watch?v=5IeVP1Vc50I

"The amazing Bulova Accutron watch filmed in microscopic slow motion"
https://www.youtube.com/watch?v=CPS7aNCAwAA

"The Bulova Accutron. Why I love it and how it works!"
https://www.youtube.com/watch?v=XugX5zb1rG8

"The World's First Electrostatically Powered Watch - Accutron Spaceview 2020"
https://www.youtube.com/watch?v=qbYG6zpLa-s

"Why The New Accutron Spaceview 2020 Is Important For The Watch Industry"
https://www.youtube.com/watch?v=TPNWTIVmB_E

"Accutron DNA Electrostatic Movement Green and Black Hands On Review of the Accutron DNA 2020"
https://www.youtube.com/watch?v=qRXSDIpi7JY

"INSANE Technology For Its Time! The Bulova Accutron Spaceview 214!"
https://www.youtube.com/watch?v=fGnagtN5YXA

"Accutron ElectroStatic Spaceview - A Modern Take of the Brand’s Iconic Creation"
https://www.youtube.com/watch?v=r2KN7ufgt68

"The Accutron Spaceview 2020 & Accutron DNA | The Birth of the Electrostatic Movement"
https://www.youtube.com/watch?v=qCyQaJcXAlo

"Bulova Accutron Spaceview - the Tuning Fork Watch!"
https://www.youtube.com/watch?v=0hqGw2W8-Hk

"Bulova Accutron 214 Spaceview - with sound and spectrum analyzer"
https://www.youtube.com/watch?v=JfNDWA-_JOE

"Sight and 360Hz humming sound of a Bulova Accutron Spaceview 214"
https://www.youtube.com/watch?v=9HeqkOXs6XA ]]]></description>
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    <title>Slow Factory</title>
    <dc:date>2021-09-13T04:29:37+00:00</dc:date>
    <link>https://slowfactory.earth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Slow Factory transforms socially and environmentally harmful systems by designing models that are good for the Earth and good for people.

***

We Are
an open education institute
an independent research lab
a regenerative design incubator
catalyzing systemic change and climate positive solutions for regenerative social and environmental justice.

We support and collaborate with
🌐 organizations 💥 changemakers ❤️ brands
in disrupting exploitative human rights and environmental practices

***

Our Impact

Climate scientists warn that we must change everything about our global economic system by 2030 to prevent a worldwide climate catastrophe––which is already unfolding in many parts of the world. The imperative to rapidly change our culture and our systems is urgent. Our programs foster creative, cross-disciplinary collaboration across science, the arts, and business, leveraging culture for the systemic transformation we urgently need for the future we want.

Our impact at a glance:

20K
Students enrolled in Open Edu

$300K
Funds raised for climate + materials development and human rights research

400K
Our dedicated and passionate audience

***

Ongoing Programs

Our Program: Open Education
Free and accessible education program focused on sustainability, equity, climate justice, and human rights. Classes center the expertise and concerns of people from the global majority.

Our Program: Landfills as Museums
Experiential workshops that showcase landfills as sites of cultural importance, reframe waste as a design problem, and provide tools to create sustainable, circular systems in product design and waste management.

Our Program: Study Hall
International and interdisciplinary conference series featuring climate justice and human rights advocates, sustainability experts, scientists, fashion industry leaders, artists, and cultural workers.

Our Program: One X One
A partnership program that pairs businesses with scientists and sustainability experts. These collaborations drive innovation in design, equity in supply chains, and circularity in materials development––and can be adapted to scale.

***

We are people of the global majority advancing climate justice and social equity through regenerative design, open education, and materials innovation.

Our Mission
Slow Factory transforms harmful systems by designing models that are good for the Earth and good for people. We are people of the global majority advancing climate justice and social equity through regenerative design, open education, and materials innovation.

Our Vision
We envision a society that holds interdependence between people and nature as its highest value and liberation as a collective responsibility. In an era defined by climate catastrophe, we recognize the urgent imperative to redesign all human activity. Our methodology applies ancestral wisdom to scientific and technological innovation to turn segregated systems into holistic ecosystems. We embrace plurality to decentralize solutions that repair and nurture global-majority communities impacted by colonialism.

Understanding that culture is a powerful driver for policy and corporate practice, we collaborate with partners across fashion, media, business, and civil society to build an equitable, climate-positive society. Together, we drive systemic change defined by a regenerative ethos, transparent supply chains, and rigorous analysis of material life cycles.

Accessibility
Information accessibility is one of three pillars of our work to advance collective liberation––along with racial equity and the redistribution of power and resources along the socioeconomic spectrum. Although we are still in the early stages of our journey, our organization has invested in hiring a team of ASL interpreters for every single live event and making all of our website and social media content accessible for Deaf, Hard of Hearing, Blind, and DeafBlind people through subtitles, alt text, and image descriptions.

Slow Factory implements Universal Design principles, which requires us to design in such a way that everyone can access our content and program offerings. In our work to center voices and perspectives of the global majority, we recognize the intersection of race and disability. We believe that equity and representation at this intersection improves intrapersonal and interpersonal communication among society at large.

Team

Céline Semaan
Leadership Collective, Creative

Colin Vernon
Leadership Collective, Innovation

Jungwon Kim
Leadership Collective, Strategy

Allen Salway
Research

Nic Annette Miller
Design & Accessibility

Nicole Nimri
Production

Paloma Rae
Community & Design

Sara Radin
Partnerships

Krista Guanlao
Design

Ambika Sanyal
Film / Editing

Candice Fortin
Program Lead, Open Edu

Board of Directors

Aja Barber
Writer and fashion consultant with a focus on race, intersectional feminism, sustainable and ethical fashion

Korina Emmerich
Fashion designer and Native rights advocate

Henrietta Gallina
Creative Director and strategist, social commentator and advocate

Sophia Li
Journalist and video director in fashion and cultural impact

Marni Majorelle
Environmentalist, urban horticulurist and community organizer

Special Advisors

Waris Ahluwalia
Designer, actor, philanthropist and artist

Xin Liu & Gershon Dublon
Artist-engineers, Slow Immediate & MIT Media Lab

Ayesha Martin
Global Purpose & Strategy Lead, adidas“]]></description>
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<item rdf:about="https://www.rollingstone.com/music/music-features/rapper-noname-album-factory-baby-book-club-twitter-1214934/">
    <title>Rapper Noname: New Album, 'Factory Baby,' Book Club, J. Cole, Beyoncé - Rolling Stone</title>
    <dc:date>2021-08-25T00:35:28+00:00</dc:date>
    <link>https://www.rollingstone.com/music/music-features/rapper-noname-album-factory-baby-book-club-twitter-1214934/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Fatimah Warner is one of the best rappers alive — and perhaps the most outspoken. In the face of vitriol, she’s backing her words with a remarkable program of action and education”

…

“It’s hard to name another young musician so critically adored and civically engaged: not stumping-for-Bernie civically engaged, but dedicating-their-lives-and-sacrificing-their-wealth-to-move-the-needle-to-the-left civically engaged.”

…

“Really, the book club came to fruition in 2019 after Fatimah “got dragged on Twitter for not knowing what capitalism was,” she says. The virtual stoning led her to do her own research… Rather than double down or bow out of sociopolitical thought completely, she read.”

…

“Fatimah is doing everything she can to avoid the status of “real celebrity.” It’s less a matter of privacy and more a matter of ethics. […] Her disinterest in wealth for wealth’s sake makes Fatimah an anomaly in popular music, and she desperately wishes she wasn’t so alone.”

…

“The hateful stuff goes viral. The love doesn’t.” –@NonameBooks

…

“As Fatimah ventured into radical thought, she shared her evolving ideas with the world on Twitter. Many people, myself included, felt like she was making our timelines and our analysis better. When we learn, though, we make mistakes, and hers were all public.”

…

“Fatimah, who’s still learning how to drive, usually bikes to the headquarters [“Noname Book Club and the Radical Hood Library, a working title for the Club’s L.A. headquarters”]”

…

“If I made a fire album and I still kept doing the same thing where I’m not putting out personal merch and I’m driving all of my fans to go purchase book-club merch, we would just be able to raise more money and do more things.” –@NonameBooks

…

“I mention, sheepishly, that I wrote my college thesis on Davis’ articulation of prison abolition, and that my research inspired me to consider the power of abolitionist fiction. “There are tons of cop shows. There are tons of shows about prisons. What if somebody just made a television show about a world where there weren’t any prisons?” I muse.

“That shit would not get picked up,” Fatimah says softly. She and Sage agree that Hollywood is too close to the state to allow it. “They don’t want us to imagine what our world could look like if we weren’t oppressed. That’s dangerous to them,” says Sage.

Fatimah cites the CIA’s role in the production of the movie Zero Dark 30, a film that portrays the agency — and its use of torture — rather positively in its pursuit of Osama bin Laden. “There’s definitely a lot of state propaganda that gets funneled through,” she says. “When it comes to the cop shows, apparently they really started booming in the rise of mass incarceration [and] the war on drugs. When the state was deciding to overpolice, they also came out with the visual propaganda to sanitize and make them normal.”

“That’s why there’s not a bunch of movies about communism and socialism, because they don’t want us imagining that type of a world,” Fatimah notes.

I’m reminded of this year’s film about slain socialist Fred Hampton, Judas and the Black Messiah. Fatimah publicly declined to be part of the film’s soundtrack, even though it featured two friends, Chicago rapper Saba and Chicago transplant Smino. Fatimah assures me she feels positive about the guys and her choice. She says it’s not a bad movie, but feels it was somewhat inaccurate, sanitized, and isolated. It was a movie about an informant who got Hampton killed, not the radical leader himself.

Michael compares it to a hypothetical film about Martin Luther King Jr., from the perspective of his murderer. “You would be like, ‘What?’ ” he says.

“He was adamant about being anti-imperialist,” says Fatimah. “One of the cool things about Fred Hampton was the fact he could integrate theory into regular conversation with any nigga who he was talking to. You didn’t really get that [in the film], to which maybe some people are like, ‘Well, you’re not going to put these political terms in the movie. No one’s going to get it.’ But that’s how that man talked! He spoke that way, and people got it. That was the beauty and the magic about who he was.”

Fatimah also objects to the casting of a 32-year-old and 29-year-old to play Hampton and the informant, William O’Neal, respectively. Hampton was killed at 21, O’Neal was 20 at the time. “This isn’t just to shit on the movie,” she says “This was personally why I wasn’t into it. I wanted something that was going to be anti the state. On top of everything else, it’s not like there aren’t Black Panthers who are alive right now still being brutalized by the state, and the movie, the actors, they’re going off and they’re getting their awards.””

…

“I ask if her mom is proud of her. “Yeah, I think so,” she says. “I think she worries, but she’s definitely proud.” Fatimah was born and raised in a neighborhood called Bronzeville on Chicago’s South Side, mostly by her grandparents until she was in middle school. Her grandparents wanted to afford her mother time to focus on the bookstore she ran.

Her grandmother grew up a sharecropper in Mississippi, and her grandfather was poor in Alabama. They had an entrepreneurial streak, owning a landscaping business. Even her father, who she doesn’t say much about, came to the U.S. poor from Tobago and managed to start a company. He worked in book distribution, leading him to Fatimah’s mom. Around the time Fatimah moved back in with her mother, she was fighting to keep her once successful shop alive, battling Barnes & Noble, Borders, and eventually Amazon.

Despite her mom’s work, Fatimah struggled with reading as a young person. She says that skipping college, smoking weed, and making music made her the black sheep of the family. Now, Fatimah financially cares for her mom, who doesn’t work anymore.

Still, Fatimah finds it difficult to be proud of herself. As we talk, she refocuses on her own work, particularly with incarcerated people. “I love doing it, but it also is just a reminder that this isn’t enough,” Fatimah says of her work. “It’s important because people feel seen and connected and they feel like someone cares about them, and that is powerful. We do have to keep fighting for people to not feel disappeared and forgotten. But …”

I interject with a reminder: “I wonder if it’s possible to think, ‘OK, we’re going to work toward anti-capitalism and anti-imperialism,’ right? Wouldn’t people need to know about those things in order to fight it, right? Isn’t that why Michael is pursuing education?”

This seems to reground her, if only for a second: “Yes. Yes. Yes, you’re right. I mean, that’s why I’m so obsessed with political education, because you can’t build anything without it.” She loses steam as she begins to think about how less-supportive people may see her work. “I know as soon as this place opens, people are going to be like, ‘What is this? She spent all this money on this?’ I know people are going to have something to say. And I do struggle with that.”

I’m not sure what to say, but I want to be empathetic. “I think it’s hard in your position to not make assumptions about what people think because people tell you what they think so often.”

“All the time, yes.”

“It probably makes you hyperaware of how you’re perceived.”

“I think that also plays into just how I perceive myself as well,” says Fatimah. “I’m starting to believe it.””

…

“The next day, I return to Fatimah’s for a tour of her neighborhood. I find her in an Assata Shakur tee, a skirt with warped polka dots, a North Face bucket hat, and the lived-in salmon-colored Vans she wore the day before. As we stroll down long, wide streets to Leimert Park’s hub of Black businesses, Fatimah points out the beauty of the bark of the trees, the good Caribbean spot on the corner, the building that functioned as actor Issa Rae’s main character’s nonprofit office on Insecure. She is most enthusiastic about the bark.”

…

“Incorporating theory and ideas about capitalism, imperialism, and racism into an album that’s also personal and fun to listen to is a challenge she’s up for. Fatimah may be unsure of the magnitude of her social-justice work, her likability, and her choices, but she is not unsure of herself as a rapper. “I know exactly what I’m feeling, what I want to talk about, my experiences,” she says. “I’ve sat with my own thoughts long enough to just know where I’m at.””]]></description>
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    <title>Ep. 33 - Blake Boles / Author, &quot;Why Are You Still Sending Your Kids to School?&quot; - YouTube</title>
    <dc:date>2021-08-18T19:38:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Po8-5Kdsf0c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blake Boles is the founder of Unschool Adventures and the author of Why Are You Still Sending Your Kids to School?, The Art of Self-Directed Learning, Better Than College, and College Without High School. He hosts the Off-Trail Learning podcast and has delivered over 75 presentations for education conferences, alternative schools, and parent groups. 

In 2003 Blake was studying astrophysics at UC Berkeley when he stumbled upon the works of John Taylor Gatto, Grace Llewellyn, and other alternative education pioneers. Deeply inspired by the philosophy of unschooling, Blake custom-designed his final two years of college to focus exclusively on education theory. After graduating he joined the Not Back to School Camp community and began writing and speaking widely on the subject of self-directed learning.

In his previous lives, Blake worked as a high-volume cook, delivery truck driver, summer camp director, Aurora Borealis research assistant, math tutor, outdoor science teacher, camp medic, ski resort market researcher, web designer, and windsurfing instructor. His passion is sharing his enthusiasm and experience with young adults who are blazing their own trails through life. 

Why Are You Still Sending Your Kids to School → https://www.amazon.com/Still-Sending-Your-Kids-School/dp/0986011975

Unschool Adventures → https://www.unschooladventures.com "]]></description>
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    <title>Spring 2020 Lecture Series - Kameelah Janan Rasheed on Vimeo</title>
    <dc:date>2021-04-13T01:44:03+00:00</dc:date>
    <link>https://vimeo.com/534944849</link>
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<item rdf:about="https://jewishcurrents.org/the-collective-work-of-abolition/">
    <title>The Collective Work of Abolition</title>
    <dc:date>2021-02-27T18:18:24+00:00</dc:date>
    <link>https://jewishcurrents.org/the-collective-work-of-abolition/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Since last summer’s uprisings against anti-Black racism, the demands to abolish prisons and the police have become increasingly popular rallying cries. But, as often happens when a concept is rapidly amplified, the idea of abolition has been mobilized in unclear and contradictory ways as use has outpaced study. We Do This ‘Til We Free Us, the new book by organizer and educator Mariame Kaba, lays out with invaluable clarity the tenets of prison industrial complex [PIC] abolitionism—which imagines a world without policing, imprisonment, or surveillance—bringing Kaba’s insights from over three decades of movement work to bear on today’s struggles. 

Centering the experiences of criminalized survivors of violence—especially the experiences of Black women, girls, and gender nonconforming people—Kaba reveals that there is no justice to be found in the criminal punishment system. She looks instead to the horizon of PIC abolition—a world not only freed from policing but where, as she writes, “we have everything we need: food, shelter, education, health, art, beauty, clean water, and more things that are foundational to our personal and community safety”—and offers concrete organizing strategies for bringing us closer to that vision. The book’s focus on collaboration, reflected not only its ideas but also in its very form (many of the pieces it collects are conversations or co-written essays) enacts the guiding refrain Kaba inherited from her father, Moussa Kaba: that “everything worthwhile is done with others.” The pedagogy of abolitionist living, this book makes evident, is not a set of instructions received from on high, but something we create together.

While Kaba is a dedicated internationalist, making her ideas widely available via Twitter and on her blog, Prison Culture, her work has long been grounded in local organizing, especially in Chicago and New York. She is the founder of Project NIA, which advocates for an end to youth incarceration, as well as the co-organizer of the Free Marissa Alexander, Reparations Now!, and We Charge Genocide campaigns, and the co-founder of the Chicago Freedom School and Survived and Punished. 

I spoke with Kaba about grief, storytelling, transformative justice, and the future of abolitionist organizing. This conversation has been edited for length and clarity. 

Claire Schwartz: Your book orbits around two central concepts: transformative justice and abolitionism. What is the relationship between the two?

Mariame Kaba: Abolitionists come from a variety of political traditions, from anarchism to socialism. Abolition is about a restructured world, so there is no single route there. My own work toward PIC abolition is rooted in a vision of transformative justice, which says you can’t end violence with more violence. I see cycles of violence repeating themselves, and ask: How are we going to break that? I was doing anti-violence work before I was officially introduced to the concept of abolition. Coming from that background, the notion of abolition immediately made sense to me—if I’m anti-rape, I can’t support prison, because we know that people are often sexually assaulted inside prisons. 

A lot of PIC abolitionists, particularly women and gender nonconforming people of color, adopt transformative justice as a political vision. We know that carceral systems aren’t meant to serve us, so we have to come up with a different way of preventing, intervening in, and transforming harm.

CS: In an essay entitled “Transforming Punishment,” you and your co-author, Rachel Herzing, write: “Abolitionism is not a politics mediated by emotional responses. Or, as we initially wanted to title this piece, abolition is not about your fucking feelings.” What’s the role of personal experience in movement-building?

MK: Some people act like your feelings should become the basis of policy for everyone. This is how we come up with reactionary laws named after one person, or ways of “resolving issues” in the world that are essentially based on vengeance. I refuse that. Of course, you can—you should—have feelings. It’s totally fair, for example, to have feelings about having been raped, to want to kill your rapist. But that’s different from creating a policy based on those feelings that says we must execute all rapists. 

I’ve worked for years with young people in conflict with the law, and young folks I’ve loved have been shot and killed. I can feel enormous anger at the person who did that. But should the state—the very entity that is already inherently racist and classist—then be entrusted with killing somebody on my behalf? Absolutely not. 

CS: Are there ways that you’re thinking about the social meanings of feelings right now?

MK: I’m thinking a lot about grief—about how, when people who experience great harm are not given the support to grieve, sometimes they end up stuck in this strange, frozen state. Maybe that feeling is being replicated in the current moment. In almost every culture I can think of, gathering in person is central to beginning a journey of healing from loss. The rituals of grieving involve eating together, hugging each other, crying together. As the pandemic forces people to gather virtually, they may end up feeling arrested in their mourning process. Even as so many people are sick and dying, in some ways our grief has nowhere to go, and trapped in that nowhere-to-go-ness, we are struggling to find our way.

CS: In an interview in your book with the poet and sociologist Eve Ewing, you say, “I’m so uninterested in narratives.” What did you mean by that? 

MK: Organizers get put through all these reductive trainings about narrative-building. You have to create narratives, and supposedly that’s what’s going to convince people to support your campaign. To me, these trainings are always about building instrumental relationships—not even relationships, really, because it feels so extractive, so disconnected from the desire to actually know people. That’s what I was thinking about when I was being dismissive around narrative. 

CS: Elsewhere in the book, you quote the poet and feminist scholar Aurora Levins Morales: “The stories we tell about our suffering define what we can imagine doing about it.” What do you see as the difference between narratives and stories?

MK: I’m very aware that storytelling is often collective work. We tell our own stories and then—even though stories are completely subjective and based on situational context and all sorts of other things—we can work together to build a new kind of story that can serve our liberation struggle. I think stories are critical. But we have to be in authentic relationship with each other. 

CS: Is there a campaign that comes to mind when you think of how stories have shifted people’s understanding of their own role with respect to political possibilities?

MK: Over a series of years in Chicago, people told the stories of those who were tortured by police, in particular by Jon Burge and the “Midnight Crew.” Over time, these stories galvanized more people to join the struggle to find some modicum of justice for the people who were harmed.

One particular person, Darrell Cannon, has been telling his story for decades. I remember him talking about what happened to him when he was arrested—how the cops played Russian roulette; how when they pulled the trigger on the gun and no bullet came out, he could actually feel his hair standing on edge. Why would I remember a detail like that unless it was connecting to the other stories I had heard? Those connections made it clear that it wasn’t just one rogue person who did this; it was one person backed by a system.

Lawyers and journalists also added to the story—particularly John Conroy, who reported on the torture when nobody else would. Even if they weren’t directly impacted, people felt like they could tell the stories. And once folks knew the stories, they were much more likely to join the campaign—they, too, wanted to figure out what justice might look like.

CS: How do you think about the uses of history in movement work?

MK: History doesn’t provide me with a blueprint for the future. It gives me an opportunity to refine my questions. Situating myself within that long arc of time gets me out of feeling like I’m the center of everything when, in fact, I’m the center of my own tiny thing. It reminds me that we need so many people in order to do anything significant.

History feels fungible for me. I go to the moments that I want to pay attention to. If I didn’t know that prisons, in the way we know them, are a relatively recent invention, I would be seduced by the attempts to naturalize these institutions, to make them appear as though they’ve always existed, and therefore you should expect them to always exist. But knowing history enables me to say: It’s not in any way “natural” that prisons exist. They are not inevitable. If they’re so recent, and if they were created by somebody, then surely they can be destroyed, and we can build other things in their place. 

CS: As I was reading your book, a conversation was taking shape about Poetry Magazine’s February issue, a special issue on incarceration, with contributions from poets who are currently or formerly incarcerated, or who have incarcerated family members. The inclusion of one particular poet prompted a lot of blowback, because he has committed sexual violence against children, and because, by some accounts, he has continued to cause harm following his incarceration. What were your impressions of the situation? What can this teach us about the difficult work we need to do, as you write, “on the way to abolition”?

MK: We know that not everyone in prison is there because they’ve been wrongfully convicted or are nonviolent offenders. There are people who are locked up who’ve done incredibly harmful things, things that are hard for us to consider and process. If you’re going to interact with incarceration as an issue, you have to accept that you’ll be working with people who have hurt people, sometimes grievously. At the same time, those people have often experienced great harm prior to incarceration, and then are harmed all the way through their incarceration. You have to be able to hold multiple truths.

The editors made the right decision not to ask people who submitted their work why they had been incarcerated. That’s a bedrock of an abolitionist politic. But the editors and the magazine should have clearly articulated their editorial stance from the beginning. They could have taken the opportunity to say, “We didn’t agree to background checks because background checks don’t actually keep anyone safe. They identify people who’ve already been caught, and those people are disproportionately already marginalized people.” Even in the case of sexual violence, we know that a tiny fraction of people who cause those forms of harm are convicted. So what you’re telling me [when you say you want background checks before you can submit art] is that you only care about the people who have been caught. Otherwise, why wouldn’t you investigate the backgrounds of everyone who submits to Poetry? Is this going to become a uniform demand for every art journal or exhibition in the future? Where does this lead us?

In my book, I make clear that I think it’s okay to deplatform people you discover have caused great harm—particularly people who continue to cause harm after they’ve had opportunities to go through processes of accountability. But if some critics argue that by publishing a sexual predator, the Poetry Foundation [which publishes Poetry] has caused structural harm, why isn’t the demand that the Poetry Foundation funnel their enormous resources into movements to end gender and sexual violence instead of simply deplatforming this particular person? Why isn’t the demand, “Fund feminist poetry workshops in all the high schools in Chicago”? Why isn’t it, “Pay for poets-in-residence in sexual assault organizations”?

CS: Trump’s presidency made the unbearableness of American violence evident to a lot of people who had previously refused to acknowledge it. We saw mass mobilizations, and abolition as a concept entered broader conversations. How do you think public possibilities will shift with a new administration? 

MK: I don’t know. But I believe that when lots of people get activated about something, they can’t easily go back to what they were doing before. I don’t think that people who have been introduced to the idea of defunding the police because millions of people took to the streets this summer can comfortably go back to their lives exactly as they were before. Yes, they may choose to willfully unsee what they’ve seen and unhear what they’ve heard, like the kid who sticks their fingers in their ears and goes, “La, la, la. I can’t hear you.” But it’s harder now. 

We also have this new generation of young people who are growing up with the knowledge that it’s possible to demand a world without these death-making institutions. It’s incalculable what that’s going to do. I grew up without the idea that that would be possible; abolition hadn’t made its way into the culture in the same way. I’m lucky to be in community with younger people through organizing, so I see the things they are taking for granted. When I talked about these ideas 20 years ago, I was begging people to listen to me, and now high school students are writing papers arguing for PIC abolition and contacting me. Even though I’ve seen the evolution, and I’ve been part of that evolution, I can’t believe it. It’s amazing to me.”]]></description>
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<item rdf:about="https://www.routledge.com/Places-of-Learning-Media-Architecture-Pedagogy/Ellsworth/p/book/9780415931595">
    <title>Places of Learning: Media, Architecture, Pedagogy - 1st Edition - Eliz</title>
    <dc:date>2021-02-08T04:16:04+00:00</dc:date>
    <link>https://www.routledge.com/Places-of-Learning-Media-Architecture-Pedagogy/Ellsworth/p/book/9780415931595</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Book Description
This book takes a close look at places of learning located outside of schools, yet deeply concerned with the experience of the learning self. It explores what it might mean to think of pedagogy not in relation to knowledge as a "thing made," but to knowledge in the making.

Table of Contents
Introduction

1. The Materiality of Pedagogy: Sensations Crucial to Understandings

2. Pedagogy’s Hinge: Putting Inside and Outside into Relation

3. Pedagogy’s Time and Space

4. Oblique Pedagogies, Conflict, and Democracy

5. The U.S. Holocaust Memorial Museum as a Scene of Pedagogical Address

6. Media, Architecture, and the Moving Subject of Pedagogy

Conclusion: Pedagogy in the Making

Author(s)
Biography
Elizabeth Ellsworth is a member of the Core Faculty in The New School's Media Studies Program in New York City, where she teaches courses in media theory and criticism. She is author of Teaching Positions: Difference, Pedagogy and the Power of Address.

Reviews
"In her role as a pedagogical curator, Elizabeth Ellsworth astutely takes an array of sources, which she fashions as convincing evidence in an argument that challenges our very conceptions of learning and knowledge. And like a thoughtful curator she does more than describe ensembles, or represent and interpret emergent themes. Rather, she offers a site for remaking our ideas of what we see and feel in the presence of learning." -- Graeme Sullivan, Art Education, Teachers College Columbia University
"At this moment when educators and designers are rediscovering the importance of direct experience and knowledge-making, Elizabeth Ellsworth presents very important information and insights. This book is a must read for leaders in design, education, and beyond." -- Dorothy Dunn, Head of Education, Cooper-Hewitt National Design Museum"

[PDF here: https://library.memoryoftheworld.org/#/book/1a39e370-9e33-44d8-a51d-e9b75e87beaa ]]]></description>
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<item rdf:about="https://www.matteringpress.org/books/imagining-classrooms">
    <title>Imagining Classrooms – Mattering Press</title>
    <dc:date>2021-02-08T04:12:45+00:00</dc:date>
    <link>https://www.matteringpress.org/books/imagining-classrooms</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[full text online (PDF, EPUB, and MOBI also at main link):
https://www.matteringpress.org/books/imagining-classrooms/read

"In this book we go to five Australian classrooms, bustling with nine- and ten-year-old children. In each classroom, imaginations are being done, not just in minds, but with bodies too, using materials and words, laughter and ideas. Each classroom is part of a different type of school: a Waldorf/Steiner school, an exclusive private school, a middle-class government school, a diverse catholic school, and a school for intellectually disabled ‘special’ children. And at these five schools, we see imagination being done — to represent, to transform, to empathise, to work with others, and to think.

The book’s characters are children and teachers, with teachers working through the school day to give children the skills they will need to think, to think with and about others, and to be creative. What we notice are habits of imagining being instilled and these range from getting children to close their eyes and imagine accurate representations, through to getting them to imagine how others feel, to getting children to make new connections between thoughts and feelings. We wonder about the implications of these habits for good knowing and good doing.

At the same time, the book shines a critical lens onto the imaginative practices of ethnographers and participant-observers, to help us think about how we define, how we class, and how we analyse our data. Ethnographers, too, have habits of imagining, representing, empathising, and connecting, and noticing these habits can help us do them better. How are academic practices both material and imaginative? How might we make sure our work is both as accurate and as ethical as possible? Macknight argues that imagination is not just something hidden in minds — it is something we do. This, then, is a book about how to do imagination better for thinking, for making, and for living together.

Chapters
Introduction

Part One Imagination in Social Science Practice 

1. Imagining Classrooms

2. Defining Imagination in Practice

3.  Imagination and Theory Building

Part Two Imagination in Classroom Practice

4.  Pictures in the Mind A Steiner Classroom and Representational Imagination

5.  Telling a Good Yarn An Independent Classroom and the Imagination that Transforms

6.  Thinking of Otherness A Government Classroom and Reading Intention

7.  Having a Friend A Special Classroom and the Making of Relationships

Conclusion Doing the Relational Imagining Connections and Separations"]]></description>
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<item rdf:about="https://www.bera.ac.uk/blog/covid-19-and-schooling-for-uncertainty">
    <title>Covid-19 and schooling for uncertainty | BERA</title>
    <dc:date>2020-11-26T22:38:26+00:00</dc:date>
    <link>https://www.bera.ac.uk/blog/covid-19-and-schooling-for-uncertainty</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Covid-19 reveals an urgent need to focus on an area of worldwide educational significance: the importance for schools of engaging with uncertainty as a key facet of education. In recent decades, a technical education model emphasising certainty has largely superseded progressive education, raising challenges for how to embrace diversity and enhance children’s capacity to navigate uncertainty. The pandemic is the most recent global societal challenge (alongside climate change and recession, for example) to demand creative, critical and resilient civil societies. Unesco, the OECD and the European Union call for education (in its broadest sense) to respond to challenges where solutions are as-yet-unknown or require constant rethinking.

Without abandoning a knowledge-based curriculum rooted in epistemological certainty, in a historical moment of heightened flux and inequality it has never been more vital to reinvigorate what is meant by transformative education in ways that acknowledge and attend to the diversity of uncertainties experienced by children. Adults (teachers, parents, scientists, politicians) do not know answers in advance, or where things might lead, given changing pandemic (and post-pandemic) contexts. Giving children opportunities to make sense of Covid-19 in their lives addresses World Health Organisation (2020) education and behaviour priorities: to promote engagement with ‘public health measures’ and ‘ethics’, and ‘address drivers of fear, anxieties, rumours, stigma’ (p. 9).

Children living with everyday precarity and vulnerabilities due to social and economic inequalities are the worst affected by the pandemic: failing to engage with lived uncertainties means stopping short of addressing educational inequalities. Systemic and structural inequalities also shape families’ ability to scaffold children’s engagement with Covid-19 queries and feelings with regard to, for example, issues such as time-poverty, heightened economic insecurities and access to home-schooling computer technology. Focussing on attainment and socialisation can be productive of social mobility, but meritocracy disguises deep-rooted divisions (Markovits, 2019). Covid-19 signals the imperative for supporting the expression of vulnerabilities and uncertainties within state-funded education, so that children have the capabilities to live with, act on and hope through them (while not distracting from ‘certain’ technical approaches), and participate in creating more just and equitable worlds.

Where ‘knowing’ is understood as ‘the transformation of disturbed and unsettled situations into those more controlled and more significant’ (Dewey, 1929), embracing complexity and uncertainty becomes a way of ’not-knowing’ too quickly or narrowly when deciding how to respond responsibly. The challenge is to engage children with uncertainty: those for whom it is not a choice but a feature of unequal life-chances, and who have unequal access to the ‘competitive advantages’ of embracing not-knowing (as recognised by business, for example) (D’Souza & Renner, 2014, p. 156).

Such engagement requires naming (not erasing) intersecting Covid-19, structural and everyday lived (ontological) uncertainties, and asking probing questions. It means opening up the possibilities to engage in diverse pedagogies – inquiry, creativity and deliberation – that are themselves uncertain (pedagogical uncertainty), in which not-knowing is valued for requiring ongoing thinking and imagination (epistemological uncertainty).

The current emphasis in schools on children’s conformity through attainment and socialisation is important, but technical knowledge alone is insufficient for children from diverse backgrounds to make meaning of uncertainties with no clear solutions in interconnected but unequal global lives. Having additional opportunities to ’not-know’ becomes a mode of being open, attentive and prepared to respond, and offers possibilities for children to shift into ‘being’ participants rather than simply recipients of adult-generated knowledge.

Teachers need encouragement to experiment with how to support children’s engagement with the lived uncertainties of Covid-19 and other issues. This includes using diverse pedagogies to support different ‘registers’ of not-knowing.

1. Knowledge: going beyond the assumed certainty of scientific fact/technocratic solutions to engage multiple knowledges, including modelling, interdisciplinarity and local. Children need to puzzle-over information, ask ‘Why this knowledge, not that?’, and consider its relevance to their current and future lives.

2. Affect and embodiment: the world is felt, imagined and thought about through sensory engagement and movement; attention to feeling can identify children’s concerns and desires, including the worlds they would like to help create together.

3. Spirituality and ethics: the spiritual is integral to schooling and embedded in many children’s backgrounds. Some may have access to spiritual guidance on ‘accepting uncertainty’, but all children require opportunities to attend to difficult questions that are inherently uncertain.

The authors promote the importance of increasing opportunities for students and staff to work with uncertainty (as well as with certainty) through TRANSFORM-iN EDUCATION [https://www.transformineducation.org/ ] – @transform_in_ed [https://twitter.com/transform_in_ed ].

References
Dewey, J. (1929). The quest for certainty. In J. A. Boydston (Ed.), The later works (1925–1953), Vol. 4. Carbondale and Edwardsville: Southern Illinois University Press.

D’Souza, S., & Renner, D. (2014). Not knowing: The art of turning uncertainty into opportunity. London: LID Publishing.

Markovits, D. (2019). The meritocratic trap. New York: Penguin Press.

World Health Organisation (2020, May). A coordinated global research roadmap: 2019 novel coronavirus. Geneva: World Health Organisation. Retrieved from https://www.who.int/blueprint/priority-diseases/key-action/Coronavirus_Roadmap_V9.pdf?ua=1”]]></description>
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<item rdf:about="https://www.jstor.org/stable/10.5406/jaesteduc.52.4.0049?seq=1">
    <title>The Arts and the Liberal Arts at Black Mountain College on JSTOR</title>
    <dc:date>2020-11-11T19:16:21+00:00</dc:date>
    <link>https://www.jstor.org/stable/10.5406/jaesteduc.52.4.0049?seq=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[pdf: https://www.are.na/block/9459000 ]

[See also:
https://www.youtube.com/watch?v=Apbl6Iuqkvc ]]]></description>
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<item rdf:about="https://anarchiststudies.noblogs.org/article-a-need-for-more-room-notes-on-colin-wards-ungovernable-urbanism/">
    <title>Article: A Need for More Room. Notes on Colin Ward’s Ungovernable Urbanism – AnarchistStudies.Blog</title>
    <dc:date>2020-10-28T23:55:22+00:00</dc:date>
    <link>https://anarchiststudies.noblogs.org/article-a-need-for-more-room-notes-on-colin-wards-ungovernable-urbanism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“[This article first appeared in March 2020 as ‘Un besoin d’espace. Notes sur l’urbanité ingouvernable de Colin Ward’ as a new postface to the French Edition of Colin Ward’s The Child in The City, L’enfant dans la ville (translated by Léa Nicolas-Teboul), published by Etrerotopia France. You can read an interview on Freedom News between Alessio Kolioulis and Jim Donaghey about the new publication, Ward’s influences, his own subsequent scholarly and professional impact, and Ward’s reception beyond the UK.] 

The Child in the City [CiC] is a book about education and planning, two of Colin Ward’s lifelong interests. As examined in the book, these two fields of politics indicate the range of terrains where planners and teachers should rethink the relationship between children, young people and the society in which they grow.

In particular, the book has the merit of exploring the social and spatial constellation between a child’s home and the school. The street, a bridge between the bedroom and the classroom, is an extension of both places, especially for children with little privacy or no garden at home, and for those adapting to overcrowded classrooms. Obviously, Ward was uninterested in issues related to overpopulation, a discourse that has gained some attention in the current climate crisis. For him, the need for adequate houses and schools was a reflection of the quality of educational systems at a time of rapid urbanisation. These aspects remain critical, and some of the challenges that educators and planners face today are the same as those identified in CiC.

The Child in the City, published in 1978, appeared after Housing: An Anarchist Approach (1976)[1] and before Arcadia for All: The Legacy of a Makeshift Landscape (1984).[2] As a planner with a background in architecture and as a researcher investigating British cities in the post-war period, Ward is profoundly inspired by the action-research of the Garden City Movement founded by Ebenezer Howard, the same movement that gave birth to the Town and Planning Association, where he worked at the time of writing CiC.[3]

Being an unorthodox anarchist operating in institutional settings enabled Ward to become a vocal public figure. He collaborated with national and multinational organisations such as The United Nations Educational, Scientific and Cultural Organization (UNESCO). These collaborations suggest a strategical belief in the institutionalisation of anarchism and its ideas. Ward was an advocate of the expansion of community and cooperative practices in the planning process. By trying to find a bridge between these spaces, Ward’s intervention in the development discourse of the late decolonial process of the 1970s was aimed at shifting institutional practices in a positive, but more-often-than-not difficult, dialogue with policy makers, prompting change through political education. The question of the role of education permeates Ward’s politics, and, in turn, its urban dimension.

Ward, who had expansive interests encompassing education, planning, architecture and politics, was often invited to give lectures, predominantly in anglophone countries, and he regularly attended conferences and events organised by progressive education groups. A fundamental collection that demonstrates Ward’s passion for renewed political education is the valuable Talking Schools.[4] Published by Freedom Press, the notable publisher for which Ward worked as editor of Anarchy, and which continues to operate in East London, the book collects ten lectures addressing teachers and educators, and is a noteworthy resource for those wanting to dig deeper into the issues raised in CiC.



In one of these lessons, Ward stressed that while writing CiC he was not interested in childhood, but in the politics of “land-use conflict”.[5] With this expression, Ward refers to the wide array of contested spaces that compose the city. The child can be at conflict with a city that systematically rejects the dreams and imaginations of those growing up in them.

On this point – the conflicts of and for urban space – Ward’s thinking was significantly influenced by Paul Goodman, another anarchist, and Goodman’s masterwork Growing Up Absurd directly and positively influenced CiC. Goodman was a New York-based writer, journalist and psychotherapist as well as a ferocious critic of the organised moral corruption at the heart of the “will to govern”. With his brother Percival, an architect, he wrote the seminal book Communitas, which, thanks to the supportive promotion of Lewis Mumford, was republished in 1960 with a chapter promoting a ban on cars. The focus on the development of infrastructures, argued the Goodmans, was accelerating the conurbation of city and country at the expense of the urban poor.[6] Instead of integrating the country, the city was pushing its margins ever further away.

Ashamed of the condition of towns and cities that North American society was leaving to its future generations, Paul Goodman argued that children can become conscious adults only if they learn how to shape their environments. In psychological terms, according to Goodman, children need “adequate objects” to experience the city.[7] Yet, cities in the US were being expanded and redeveloped under the systematic marginalisation of groups, which purposefully created chaotic and derisory living conditions. Such conditions were threatening the psychic organisation of the child.

Meanwhile, state-led interventions actively advanced the ethnic and class segregation of American cities, increasing what officials called delinquency. Anarchists like Goodman interpreted these official policies as an extension of the economy that created jobs for state apparatuses. Under a racist economic regime, excluding and controlling people was profitable. Thus, following Lewis Mumford’s 20-year long critique of New York’s City Planning Commission and its modern masterplans, in Growing Up Absurd Goodman denounced the farcical relocations of low-income families into inadequate blocks that characterised the regeneration projects of the first half of the twentieth century in New York. How can a teenager live in a small flat, day and night, where a family share one bedroom? Juvenile delinquency, argued Goodman, was manufactured by urban planners.

In addition to the early signs of an incoming planetary gentrification, worthwhile relational activities and manual work were demonised even by unions. When unions ceased to protest the loss of manual jobs in the name of fighting alienation, Goodman concluded, people not only accepted these new conditions, but forgot Marxism altogether.[8] This dual transformation – of cities and of jobs – produced a society in which young people struggled to be recognised. The lack of trust in them made children feel worthless and not listened to. But for children to grow into adults, they need to be taken seriously. This is among the key lessons of anarchist education, a message that is present throughout Goodman’s and Ward’s books.

While the Left was retreating from its usual terrains, Goodman and Ward witnessed the profound changes of working-class neighbourhoods in and beyond New York and London. Both anarchists studied the new class structure of the urban poor, quickly realising the need to look beyond the low schooling rates of migrant communities. With their background in planning, they moved their attention towards the impact of housing conditions on social outcomes. In addition, a process of de-industrialisation put pressures on richer and now adult migrants ready to enter better paid jobs, only to discover that these jobs were disappearing. As a consequence, for racialised communities such as Hispanic and African Americans in New York and Asian and Caribbean people in London, education was failing them.

Overcrowded schools maintained by underpaid teachers turned into waiting rooms or, worse, prisons. As Ward argues in CiC, working class families needed a form of education that was practical and that responded to immediate local needs. These were among the reasons why Ward advocated for curricula to be de-nationalised. Thus, at the end of the Fordist era, solutions had to be fought for and found at the grassroots level and outside the expertise of decision-making institutions.

In the preface to the American edition of his friend John Turner’s breakthrough book Housing by People, Ward summarises in a few beautiful lines the problem with experts.

The moment that housing, a universal human activity, becomes defined as a problem, a housing problems industry is born, with an army of experts, bureaucrats and researchers, whose existence is a guarantee that the problem won’t go away.[9]

Turner was among the first planners to celebrate the achievements of informal urbanism against the violence of slum upgrading and regeneration plans.

Once again, Ward’s mission is to educate planners and architects about the pragmatic solutions that people around the world were applying to growing cities and settlements. Ward’s books such as The Allotment: its landscape and culture[10] and Goodnight campers! The history of the British holiday camp[11] are testament to a strenuous research to document and map the possibility of autonomy within the city.

But there cannot be autonomy without progressive education. It is therefore important to look more closely at Ward’s anarchist approach to education. As Ward wrote, “the anarchist approach has been more influential in the field of education than in other fields of life”.[12] Progressive education was the major interest of the anarchist movement of the 1960s, as education was seen as a tool to expand people’s political participation. As Ward put it, “education should mean joy”, but, as the expression suggests, education too often fails children and young people by depressing their creativity and their desire to play. A question that accompanied Ward’s life was how to build a society in which each generation can live for itself, without the Moloch of the future.

Ward was deeply interested in the history of anarchist education and focused especially on the 19th century English and American contexts. In opposition to the conceptual framework offered by the revolutionary French rationalists, in which education was a priority and a task of a well-functioning state, Ward reflected on the imposition of a national education system that led to the suppression of working-class forms of education in 1860s Britain. With no bounds to the church or to the state, such schools were seen by families as close to the needs of their communities. They did not have registers and were flexible with punctuality. Furthermore, community education taught practical things rather than moral orders!

While Ward is interested in alternative education, such as Steiner’s anthroposophy and the Ferrer schools, there are two major influences that must be mentioned to sketch a fair portrayal of his educational philosophy: William Godwin and Mary Wollstonecraft. For decades Godwin and Wollstonecraft were primarily known as the parents of Mary Shelley, author of Frankenstein. However, in an intellectual struggle to give voice to forgotten radicals, Ward had put some effort into the renovation of Godwin and Wollstonecraft’s ideas against a national education. Against Rousseau, the early anarchist approach Ward is interested in lies in the separation of society and state. Following Godwin’s effort to think of a non-governmental society, for Ward education should remain outside the remit of the state, as governments injure children with ideas of permanence and obedience. National curricula are too narrowly aligned with national governments.[13]

Finally, I would like to conclude with a more technical and critical note that may suggest some interesting trajectories, as well as gaps, in Ward’s philosophy. In the very short preface to the second edition of CiC published by Bedford Square Press in 1990, Colin Ward writes, almost with a tone of excuse, about the decision not to republish the photos by Ann Golzen included in the beautiful first edition of 1978.[14] There are three reasons for this choice. The first reason is economical, and concerns a greater accessibility and wider distribution of the book. The second reason is that the discussion with social workers and teachers that the book sparked in the twelve years following the first edition gave rise to a collective reflection on the possible consequences that images have on children. In retrospect, the collection seemed to be more “an overview of deprivation than a celebration of urban childhood”.[15] A third consideration addresses young adults, who no longer recognised themselves in the images contained in the book: fashions are transient and must be respected. A decade is enough to transform traits, looks and figures.



The notes on why this choice was made are worth some reflections that may be useful for grasping some of the characteristics of Ward’s thought, especially in relation to the absence, it would seem intentional, of a systematic review, or at least a chapter, dedicated to the theme of childhood and new technologies. If, in fact, CiC is structured around classic themes of the vast literature that deals with children, the technological question remains in the background and is never explicit. For instance, there is no criticism of mass media and their role in the reproduction of capitalist social relations. Nor is there any theoretical elaboration on the link between technological development and urbanisation.

A possible explanation of this important absence can be found in CiC’s rooted engagement with the anglophone scholarly tradition of anthropology. To a careful reader, CiC appears solidly anchored between the traditions of American cultural anthropology and British social anthropology. It is no coincidence that the introduction of CiC opens with the American anthropologist Margaret Mead’s famous expression “The child does not exist. There are only children”. Like Mead’s Coming of Age in Samoa, CiC attempts a cultural study on childhood that remains, albeit somewhat uncomfortably, within the boundaries, and limits, of British structural functionalism.

To understand this tradition in the urban terms of CiC, the capitalist structures of city development are what shape future adults. Children can find their autonomy in the built environment, but it is ultimately the interests of speculators that confine the potential of urbanism and education. CiC has underlying elements of a more radical humanistic approach in line with anarchist self-determination, for instance in the people’s histories that complement the book (this approach was already fully developed in the earlier Anarchy in Action). However, perhaps because of the more professional audience that CiC targets, the book offers a flight from capitalism only in the form of a subtraction from urban structural functionalism. Many of these books – especially the ones published by Freedom Press – are stylistically and methodologically different. It is important however to highlight the limits of CiC’s abundant literature.

Ward does not explore, more consciously than not, the concepts and theories that were emerging on the other side of the English Channel. If French post-structuralism offered the tools to understand the links between governmentality, security and control, Ward ignored the political issues of the production of subjectivities, lingering on a safer anthropological toolbox, in which men and women can build autonomy but relative to the social functions of a city.

More worryingly, CiC does not provide an acceptable gender analysis, something that today would simply be intolerable. CiC overlooks gender issues and therefore misses the role of social reproduction for the production of the city. The capitalist city cannot function without cleaners, carers and women forced to stay at home. By doing so, Ward adopted a depoliticised perspective on technologies and gender, especially in its relation to the politics of bodies, maintaining a view that sees technics as an intermediate variable that can be controlled. In other words, for British social anthropology technology is an implicit function of society.

In return, the missing engagement with continental philosophy in Ward’s work may suggest that the political conditions of 1970s Britain determined a more pronounced closure, compared to American universities, to theories and events coming from Continental Europe. Foucault, for instance, arrived in the UK via the US. Secondly, Britain’s 1968 took place only in the 1980s, as a response to Thatcherism. This distance is a somewhat missed opportunity, considering that a comparison of Foucault and Ward could give new life to a politics of ungovernability, at a time when the solution to the current crisis is more, and not less, governmentality.

A second absence is the missed confrontation with Henri Lefebvre (and the opposite is true, signalling a less connected era between politically engaged intellectuals). While CiC accommodates the innovative findings of the American planner Kevin Lynch, who claimed that people create functional mental maps of their surroundings, Ward prefers to stay away from the study of capitalism. Capital and economic determinism are either marginally discussed in CiC or remain in the background of the study. Ward ultimately opts for a sensitivity closer to people’s histories of cities and spaces, rather than on the capitalist production of space. To put it more simply, Ward’s focus is on political culture over economics. Under this light, it is perhaps clearer why his persistent emphasis was on education.

If, for some readers, this gap is a sign of a rational departure from the differences in approach that characterised the British Marxist debate of that period – divided schematically between the continental structuralist philosophy of Louis Althusser of which Perry Anderson was partly promoter, and the Historical approach of the communist intellectual Edward Palmer Thompson – it is perhaps, on the contrary, in this distance from Marxism and the Communism of Soviet Russia that the singularity of Ward’s urban philosophy can be found.

CiC is very rich in data, ethnographic work and statistics, which Ward masters to produce a general reflection on the crisis of urban education. The regionalist and ecologist vision adopted by Ward while employed at the Town and Planning Association offers a renewal of Peter Kropotkin’s anarchism by placing libertarian ideas in the loopholes of anglophone anthropology. Away from the bureaucracy of political parties and planning offices, Ward believed in the potential role of education to design more socially just cities.

Occasionally, it is hard to understand whether for Ward education can be an objective in itself or a means to build autonomy. It should probably be both, as autonomy is a continuous process of emancipation that relies on its expressive and spatial expansion to be successful for all. The “object-oriented” urbanism presented in CiC, an urban anthropology focused on the impact of the built environment on people’s lives, anticipated the advent of Latourian philosophies, but with an exception and a difference. It is children, future adults of a society, and not social technologies, who remain at the centre of Ward’s city.

To conclude, as discussed in this postface, it would be a mistake to search in Ward for a philosophy of the “place” of humanity in the “world”. Ward was attracted to the social self-determination of groups and people, to the autonomy and education of children, not of the child. Ward maintained an original interest in the social exploration of persons and their processual spatial expression. He documented and opposed the attack of speculators on the autonomous territories that compose a city. By talking to teachers, he understood the importance of learning the journey from and to homes, in order to appreciate the problems of families. For Ward, as the pioneer of popular urbanism Patrick Geddes once put it, a good city is one that welcomes the ungovernable need of a family for “more room”.



[1] Colin Ward. (1976). Housing: An anarchist approach. London: Freedom Press.

[2] Dennis Hardy and Colin Ward. (1984). Arcadia for all: The legacy of a makeshift landscape. London: Mansell. The 1982 book Anarchy in action was originally published in 1973.

[3] Somewhat interestingly, Colin Ward quit London after the publication of CiC and moved to the countryside in 1979.

[4] Colin Ward. (1995). Talking school: Ten lectures by Colin Ward. London: Freedom Press.

[5] Ibid. pp. 120-21.

[6] Conurbation is a term coined by architect Patrick Geddes, another key influence for Ward. Cf. Colin Ward. (1991). Influences: Voices of creative dissent. Bideford: Green Books, p. 106.

[7] Paul Goodman. (2011) [1960]. Growing Up Absurd. New York: New York Review Books Classics, p. 20.

[8] Ibid. p. 42.

[9] Colin Ward’s “Introduction” to John F.C. Turner. (1977). Housing by people: Towards autonomy in building environments. New York: Pantheon Books, p. xxxi.

[10] Colin Ward and David Crouch. (1988). The allotment: Its landscape and culture. London: Faber.

[11] Colin Ward and Dennis Hardy. (1986). Goodnight campers! The history of the British holiday camp. London: Mansell.

[12] Colin Ward. (2004). Anarchism: A very short introduction. Oxford: University Press, p. 61.

[13] Colin Ward. (1991). Influences: Voices of creative dissent. Bideford: Green Books, pp. 13-48.

[14] Colin Ward “Preface to New Edition” (1990). The Child in the City. New Edition. London: Bedford Square Press.

[15] Ibid.”]]></description>
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    <title>Isabel Rodríguez on Twitter: “Critiques of unschooling and the self-directed education movement that are based on thinking of them as a white and wealthy thing are really a distraction from a systematic failure to acknowledge and deal with the power st</title>
    <dc:date>2020-10-28T23:31:11+00:00</dc:date>
    <link>https://twitter.com/ecomentario/status/1321369751977865218</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Critiques of unschooling and the self-directed education movement that are based on thinking of them as a white and wealthy thing are really a distraction from a systematic failure to acknowledge and deal with the power structures of schooling and the systems it feeds. 1/

Yes, there are white and economically privileged sectors of this movement who don’t connect self-direction with justice and liberation struggles, or that are stuck in a capitalistic and racist mindset of competition and seek to create advantages for their children. 2/

But the relevant political contradiction is not between the meaning and disruptive potential of the self-directed education movement and the existence of these sectors, but between the ideals of those who seek liberation but fail to address the power structures of schooling. 3/

So, in response to these critiques, the answer should be: Okay yes, but what are we going to do about school? 4/

And any meaningful subsequent reply should not be just about inclusion or just about the curriculum or methods of schooling, but about granting real power, a real say and real resources to the children, families and communities educational systems are meant to benefit. 5/

In schooling as in larger systems or structures, meaningful answers should be about granting real power, real autonomy and real resources to oppressed populations. 6/

Thinking of this subject, I don’t think anyone could read Ivan Illich and not think of deschooling as a profoundly anti-capitalistic position. 7/

And worse than a critique of self-directed education as a white and wealthy thing is the notion that in order to protect oppressed populations, the children and the young among oppressed populations should continue to be oppressed. 8/

Worse than a critique of self-directed education as white and wealthy thing is also the notion that for oppressed populations to survive, their children and young people cannot be allowed to enjoy freedom, respect and just plain happiness. 9/

And let’s be honest, there are few things as racist and classist as thinking that non-white and poor populations are not smart enough to make their own decisions or that their children and young people cannot be granted the same privileges. 10/

There are few things as colonialist as thinking that children and young people among non-white and poor populations cannot be allowed to follow their own path. 11/

And there are few things as capitalistic as thinking that children and young people among non-white and poor populations should be pushed through paths of hard work, individual effort and merit, instead of challenging the power structures and hierarchies of capitalism. 12/

It is important to acknowledge that the kids of white and wealthy families cannot grow up to understand much needed social change without deliberate educational efforts in this regard since they are not positioned to understand the racism and poverty they do not live. 13/

But things won’t change with education alone. Real and meaningful change should be tangible. Far more important than education is the dismantlement of the power structures and hierarchies creating inequalities in the first place. 14/”]]></description>
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    <title>Report on the Construction of Situations - Wikipedia</title>
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    <link>https://en.wikipedia.org/wiki/Report_on_the_Construction_of_Situations</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The imbecilization of young people in families and schools

The imbecilization that young people undergo within their families and schools, has then a natural continuation in the "deliberately anticultural production" of novels, films, et cetera, conducted with the means of large-scale industry.[5]

In his 1961 film Critique of Separation, Debord returned on this topic adding:

<blockquote>The spectacle as a whole is nothing other than [...] the gap between the visions, tastes, refusals and projects that previously characterized this youth and the way it has advanced into ordinary life.[6]</blockquote>

In contrast, the sense of the Report on the Construction of Situations is to fulfill human primitive desires and pursue a superior passional quality. The main goal of the Situationist International is precisely the setting up of environments that favor such fulfillments.[7]

Official culture and the trivialization and sterilization of the subversive

For Debord, official culture is a "rigged game", where conservative powers forbid subversive ideas to have direct access to the public discourse, and where such ideas are integrated only after being trivialized and sterilized.[8]

Debord discusses the close link between revolution and culture and everyday life, and the reason why conservative powers are interested in forbidding them "any direct access to the rigged game of official culture." Debord recalls that worldwide revolutionary movements that emerged during the 1920s were followed by "an ebbing of the movements that had tried to advance a liberatory new attitude in culture and everyday life," and that such movements were brought to a "complete social isolation."[9]"]]></description>
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    <title>The Short Life and Long Legacy of Black Mountain College - The New York Times</title>
    <dc:date>2020-10-27T05:33:43+00:00</dc:date>
    <link>https://www.nytimes.com/2015/12/18/arts/design/the-short-life-and-long-legacy-of-black-mountain-college.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In line with the era’s progressive educational thinking — John Dewey was God — the school was conceived as pro-community and anti-hierarchy: Everybody learned from everybody. Although the faculty was technically in charge, students were involved in institutional decision-making. It was also left to them to decide when they were ready to graduate. (Most never did.) There were no course requirements, departmental restrictions, grades or degrees. The school offered, at least initially, a fairly broad-based liberal arts program, with art itself, modernist in mood, at the center, available to all, not necessarily as a professional pursuit but as a means of unlocking creative thinking in students in every field."]]></description>
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<item rdf:about="https://www.tandfonline.com/doi/abs/10.1080/01425692.2020.1755230">
    <title>The errors of redemptive sociology or giving up on hope and despair: British Journal of Sociology of Education: Vol 41, No 6</title>
    <dc:date>2020-10-07T19:42:12+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/abs/10.1080/01425692.2020.1755230</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“This paper considers the sociology of education (SOE) as a modern human science. It suggests that the SOE is mired in a set of unreflexive, redemptive, Enlightment rationalities, and explores the messy relationships of the sociology with education that result from this. It is argues that the sociology of education has consistently failed to distance itself from the metaphysics, optimism and oppressions of modern schooling. That it has failed to call into question either the basic building blocks of schooling, or what we call education – pedagogy, curriculum and assessment – or the buildings themselves, the spaces of education. The paper concludes by asserting to need for critique rather than simply criticism as a starting point for thinking education differently.”

[See also: https://soundcloud.com/eetheducationesearcher/the-sociology-of-education-policy-stephen-ball ]]]></description>
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<item rdf:about="https://soundcloud.com/eetheducationesearcher/the-sociology-of-education-policy-stephen-ball">
    <title>The sociology of education policy (Stephen Ball) by Meet The Education Researcher</title>
    <dc:date>2020-10-07T05:39:22+00:00</dc:date>
    <link>https://soundcloud.com/eetheducationesearcher/the-sociology-of-education-policy-stephen-ball</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[““Sociology of education has devoted itself to saving, reforming, improving, perfecting the school … I now believe that it is a doomed enterprise. The school is an irredeemable institution”.

Prof. Stephen Ball (IOE London) is one of the world’s most eminent education researchers – a leading voice in the sociology of education, and a founding name in the area of policy sociology.

We talk about everything from Foucault to the state of pandemic education. We also discus Stephen’s recent provocative writing on the need for education researchers to ‘break their addiction’ to trying to improve schools and schooling.”

…

“For a great majority of my career, I was a redemptive sociologist. I saw, at some level, my role being to save education from the deleterious impacts of neoliberalism or the forces of regression… In a way, I neglected to think about what education is in itself irrespective of those iterations or influences or nuances. I’ve come to realize belatedly that, in fact, really the problem is the school. And the school, for many of us, to a great extent, is education. Sociology has devoted itself to saving, reforming, improving, effecting the school. I now believe that that’s a doomed enterprise. It’s an irredeemable institution. The problem is the institution of school.

And as part of that, we’ve also neglected the fact that sociology of education came into being in relation to school as one of the technologies of government which were aimed at civilizing, in particular, the working class urban population that emerged in the 19th and 20th century. But we distance ourselves from that and see ourselves as having a separate position over and against the school, whereas in fact we have been and continue to be profoundly implicated and imbricated in the maintenance of the school as an institution. So, it’s a form of self-critique, if you like.”

…

“We have to break out addiction to the school as the primary vehicle or meaning for education. We also have to dispense with the architecture that then constructs the school. If you look at most criticism they are related to the idea or based on the idea that we’ve the wrong curricula, we’ve got the wrong pedagogy, and we’ve got the wrong forms assessment, and if we get them right, then everything will be all right. And so what I’m saying is actually the problem is pedagogy, curriculum, and assessment in themselves. So, the first move has to be to create a space in which it’s possible to think about education without reconstructing it on the basis of the architecture that constructs it as a modernist institution. 

I realize that’s an enormously difficult thing to think about and I’ve had some fascinating conversations with people as a result of the paper. And it has been intriguing to see how deeply wedded people are, even, if you like, radicals are wedded to the school. So many of the conversations are littered with “yes, but…” “yes, but we need the school”… “yes, but the school does this”… “yes, but the school is fundamental to the opportunities of working class children.” And moving beyond that is the challenge, moving beyond the “yes, buts” to actually  think openly about doing things in a way that starts from somewhere else.”

[See also:

"The errors of redemptive sociology or giving up on hope and despair" by Stephen J. Ball (2020)
https://www.tandfonline.com/doi/abs/10.1080/01425692.2020.1755230 ]]]></description>
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<item rdf:about="https://twitter.com/keguro_/status/1312413388316774410">
    <title>k'eguro on Twitter: &quot;perhaps my favorite teachers—and I have had many—taught me how to sustain curiosity over and over and over and over they taught me how to feed curiosity&quot; / Twitter</title>
    <dc:date>2020-10-05T19:40:57+00:00</dc:date>
    <link>https://twitter.com/keguro_/status/1312413388316774410</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["perhaps my favorite teachers—and I have had many—taught me how to sustain curiosity

over and over and over and over they taught me how to feed curiosity

my favorite independent study: I came up with the syllabus, made it up as I went along, and every few weeks, I'd go to the prof's office and discuss what I'd found

that was it
the prof wasn't expert in what I was doing
simply wanted to nurture my curiosity

(my friend's child starts each of their endless sentences with "did you know" 

and I want that to be sustained for them, that they will always have someone willing to listen to "did you know")"]]></description>
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<item rdf:about="https://hkw.de/en/app/mediathek/video/78495">
    <title>Discussion: Anarchy and Control | Mediathek 78495</title>
    <dc:date>2020-09-29T18:20:23+00:00</dc:date>
    <link>https://hkw.de/en/app/mediathek/video/78495</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[audio-only version: https://hkw.de/en/app/mediathek/audio/78450
https://soundcloud.com/hkw/discussion-anarchy-and-control ]

[intro to the discussion by Tom Holert: 
video: https://hkw.de/en/app/mediathek/video/78499
audio-only version: https://hkw.de/en/app/mediathek/audio/78447 ]]]></description>
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