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    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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    <title>this is what they took from you - by Lyta Gold</title>
    <dc:date>2024-12-30T19:31:10+00:00</dc:date>
    <link>https://lytagold.substack.com/p/this-is-what-they-took-from-you</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been obsessed lately with the screenshots—mostly from Twitter—of adult human beings discovering the existence of the Odyssey for the first time. If you haven’t seen any of these posts, they were made after the announcement of Christopher Nolan’s latest project, an Odyssey adaptation with a star-studded cast. Here’s a representative example from 23 year old influencer and TikTok star Matt Ramos:

[screenshot]

Ramos has over 300,000 followers; as you can see in the screenshot, over 12.8 million people viewed this tweet. Many of them viewed it to make fun of it, which is how I ended up seeing it in the first place.1 Ramos’ post and others sparked the usual sort of debate about kids these days and our rotten education system, and whether it’s classist and snobbish to say that there should be a literary canon, and what even goes in that canon, and hey, what’s even the point of books, given AI and podcasts and whatever.

Discourse bubbles like this one tend to pop pretty quickly, leaving behind a sour aftertaste and a lingering feeling of threat, usually directed at the kids these days. And many of the more notable ignoramouses here do appear to be young adult Gen-Zers, mostly meathead influencers with no time or incentive to know anything anyway. But their popularity as influencers and a whole lot of other data points have worked together to freak me out: we seem to be rapidly tipping toward a much dumber culture, a culture that both rewards ignorance and has no idea of its ignorance. When Nolan announced Oppenheimer just a few years ago, I doubt everybody knew who J. Robert Oppenheimer was off the top of their heads; yet, I don’t recall a similar wave of posts commending Nolan for digging up such an obscure historical figure or insisting “actually it’s okay to not know everything about history.” What’s new in these weird giggling void-days after Trump’s second victory is the absolute happy ignorance, and the ignorance of ignorance. I don’t think shame is an ideal motivator, especially when it comes to education: but it’s weird that there’s no shame here.2 In fact, the shame is getting directed the other way: aren’t you the asshole for bringing it up? Aren’t you just making normal (a.k.a. stupid but it’s rude to say it) people feel bad?

These kinds of conversations often get hijacked as being about class and class snobbery, and I want to head that off right now. A lot of people from privileged backgrounds, who went to good schools and hold impressive degrees, are fucking pig-ignorant and proud of it, too. Former Maryland governor Larry Hogan, the son of U.S. Representative Lawrence Hogan Sr., attended private Catholic high schools and has a bachelor’s degree from Florida State; he also recently claimed that mysterious lights in the sky were drones (they were in fact, stars in and near the constellation Orion.) This once again unfolded on Twitter, the idiot machine and the real leveller, the place where many people still go to get their education and their opinions, to bask in the joyful terror of their own stupidity. And if you point out that they’re ignorant of basic factual information then it’s snobbery, it’s class prejudice: if you insist on the universal right to and importance of human knowledge you’re making the morons feel bad. Once again, this is irrelevant to the actual class status of said morons. Elon Musk, perhaps the dumbest bitch on earth, promoted his Cybertruck by claiming that “Bladerunner” would drive it, a character who does not exist; and I’ve seen about three Cybertrucks in the wild now, all looking like escaped video game artifacts; and yet Musk remains the richest man in the world, the real winner of the era. He’s also currently getting sued for using AI-generated Blade Runner 2049-like images to promote his new robotaxi, but he has more money than God so who cares, what good is knowing or paying attention to or remembering anything anyways?

It’s genuinely difficult right now to explain why it’s important to be familiar with the Odyssey, to recognize basic constellations, to know who Oppenheimer was, and to actually watch movies like Blade Runner with your eyes and not just junk it for promotional parts. To be clear, I believe that these things are extremely important, just that the discursive space in which to make these explanations has been completely subjugated by grindset bullshit. To a Gen-Z influencer type, it’s perfectly appropriate for Christopher Nolan, a wealthy and successful director, to have read the Odyssey and an Oppenheimer biography—these are things he can use to make himself wealthier and more successful; they are grist for the mill of himself. I don’t think that’s remotely why Nolan does it; I think he wants to make movies. But a desire to make art for the sake of art has become a foreign concept. Obviously in 2024 and beyond, the point of making things is solely to be rich and famous; and the point of being rich and famous is to be richer and more famous. This country has a fatal case of winner psychosis. It has no idea it’s even sick.

Arguments in favor of of “useless” cultural knowledge—or at least the kind of knowledge that isn’t instantly transferrable into direct marketable skills—usually end up grounding themselves in usefulness anyway: i.e., you need to know the basics of what the Odyssey is about or what Orion looks like in case you’re in an important social situation and it comes up, and you don’t want to be embarrassed. But these arguments are as dead as higher education and the concept of shame itself. It’s no longer an advantage to know these things, or rather, it’s a disadvantage to know them as anything other than widgets you could maybe use someday. The point of education has become, at best, networking and management training. In fact a high school teacher included in a recent article about the reading crisis in higher education (i.e. that many incoming college students don’t know how to read a full text) explains that she uses selections from the Odyssey along with TED Talks to teach her students about “leadership.” I really hope that her point is that Odysseus is a bad leader, but I doubt it.3 I also doubt that the Odyssey is a particularly fun read as a business text, but again, that’s not the point: the point is to make the Odyssey useful and justifiable in a winner-take-all world. The goal of education is simply that, usefulness; you can’t really blame the kids for this one, when everything in the culture tells them that culture doesn’t matter in itself, that lol nothing matters.

To be clear, many people think nothing matters. I don’t. I also think “many people think” isn’t a particularly meaningful divider of information, even though it’s become the arbiter of truth. There were lots more people making fun of the posters who had never heard of the Odyssey before than there were original posters themselves. But while mockery—and cynical despair—is an understandable response, I think it misses that this is fundamentally sad. These kids have been robbed. Maybe they’re complicit in their own robbery; maybe they didn’t pay attention in their literature classes, or have always mentally skimmed over any allusions to “sirens” or “cyclops” that they didn’t understand and never wondered about it. (If you’re literate, and have read even a few novels, it’s genuinely hard to have never run into a reference to the Odyssey.) But this is bad, not because the Odyssey could be useful for these kids’ careers or in social situations, but because everybody in the world has a right to know that story. World literature belongs to everyone! Anyone who says otherwise is selling something (usually racism).

I think people who care about literature need to make this argument, relentlessly: that everybody deserves to have access to these stories, that they’re cool and good and fun, that not everything in the world needs to help advance you up the ladder, that there’s more to being alive than work and posting and gaining influence, that winning isn’t in fact everything. But I appreciate that this is a tough sell when the dead cultural tide is flowing in the other direction; and the places where everybody gets their information are algorithmically designed to tell them to win and advance at all costs. I don’t know, sometimes when you enter the realm of fatally disruptive noise you have to tie yourself to the mast and stop your ears and refuse to hear it. I think there’s a story about that."]]></description>
<dc:subject>lytagold 2024 reading books culture education curriculum history schools schooling literature odyssey homer culturalknowledge knowledge bladerunner oppenheimer robertoppenheimer jrobertoppenheimer classics mattramos genz generationz awarenessc christophernolan leadership usefulness utility humanities zoomers</dc:subject>
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    <title>Walking as Inactivity - by Thomas J Bevan - The Commonplace</title>
    <dc:date>2024-10-18T22:44:12+00:00</dc:date>
    <link>https://thomasjbevan.substack.com/p/walking-as-inactivity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sunday. The day of rest. I’m down by the Quayside, walking. It’s near lunchtime and the walkways on either side of the water’s edge are teeming with couples and clusters of families, both on foot and on pushbikes. There are pedaloes cutting through the still water and waitresses running out trays of tall lattes to eager pensioners nestled under the parasols jutting out from the centre of round metal tables. Beyond them a seersuckered trad jazz band blow away to the mild delight of a smattering of swaying onlookers. The sun is out, the sky is clear and blue and the breeze is a gentle comfort against the heat. And yet something isn’t quite right. Despite the day, despite the time of year and the favourable, couldn’t-be-better weather there is a tension here, just below the surface.

I stroll the banks but I am the only one who is strolling. As I amble and look and linger at the sight of various waterbirds I am overtaken time and again. I watch the cable ferry for a minute, I contemplate the various centuries old brick buildings and imagine what this place would’ve been like when it was a place of sail ships and exchange and empire. And I am overtaken and overtaken as if there were a minimum speed limit that I was flagrantly disrespecting by moving so slowly. See, though this is a place of leisure and today is the designated day of rest people are marching purposefully as if they have somewhere else to be. Rigid gait, eyes on the path ahead, stimulant of choice at hand- either takeaway coffee or sickly sweet cake or both, while some of the university age walkers forgo these and instead blow vape-pen clouds into the cloudless sky. There is something going on here. Am I the only one who knows how to bimble, how to promenade, how to saunter? Is this now a lost art? And if so, what does this mean, what does this say about us and the way we are living?

The vital thing to understand- and the point that I want to stress the most- is that walking is not an activity. Or rather, it should not be conceptualised as and reduced to being a mere activity. It is much more than that because it is much less than that. Walking is one of the great forms of inactivity and in a world of striving and consumerism and grasping and impatience it is one of only very few potential forms of inactivity left. It is that makes it precious.

You see, when you walk slowly and with no real destination in mind you are not doing, you are just being. Such walking, such contemplation is the beginning of freedom, it is the necessary pre-condition for having your own thoughts and as such for truly living your own life.

Which is why it is such a shame when people pollute their potentially edifying walks by turning to their ever-present phones. When I walk the streets and alleys of my city I constantly see people either shouting inanities into their phones1 or else using them to wirelessly pump music or podcasts into their eager ears. Walking thus becomes reduced to a mere mode of transportation for the carless and these reluctant pedestrians become- like so many other one-person-per-vehicle drivers- detached and isolated units moving through space2. The audio and the journeying cancel each other out and it all bleeds into one, it becomes a blur that blots out the boredom of not being at your destination yet. Worse still is when this is combined with step counting apps or wristwatches which tragically instrumentalise the beautiful art of wandering around and turn walking into a metricated means of merely keeping the body alive and in some sort of working order. Such devices reduce us to machines, and one of the great tricks of Capitalism or The System or however you want to conceive it is that it not only turns us into machines for consumption and generating wealth for The Economy, but it also burdens us with the upkeep of the machinery that we have been reduced to becoming.

It reminds me of the great rant that the anarchist Bob Black got into about free time in his seminal essay The Abolition of Work3

“Free time is mostly devoted to getting ready for work, going to work, returning from work, and recovering from work. Free time is a euphemism for the peculiar way labor, as a factor of production, not only transports itself at its own expense to and from the workplace, but assumes primary responsibility for its own maintenance and repair. Coal and steel don’t do that. Lathes and typewriters don’t do that.”

When you start tracking your step count when you go for your daily constitutional you turn the walk into ‘free time’ in this sense. It becomes an Activity, something that is Good For You. And this only compounds if you listen to some manner of Educational Podcast as you do so. The thrillingly, daringly subversive non-activity of moseying around the neighbourhood for no reason other than the sheer pleasure of being alive, able to walk and out of doors degenerates into just another means of being visibly productive. Because eking out maximum amounts of productivity from every moment of our days has been working out so great for us thus far. All work and no play makes Jack a dull boy and we are all so play-deprived that many of us are becoming passive, disembodied viewers of our own on-screen lives.

It may seem that I am getting worked up about a series of trivialities here. To point out how people turn their recreational activities into photoshoots of themselves acting out their recreational activities may strikes some as petty. To highlight the ubiquitous phones and SUVs that people use to transport them the short distances to and from the walking spots may even seem a little mean spirited. Like I am nit-picking relatively unimportant and unremarkable things to try and find some significance in them. But I truly think that there is a lot more going on here. Everyday things are worthy of serious consideration because they are so common and unremarked upon.

So what does it say then when walking- something that is already complete and requires no thought or effort or expense- is polluted and diminished into just another opportunity to consume and document said consumption? What does it say when we so thoughtlessly desecrate our leisure like this? I would argue that to do these things is more than a little dehumanising.

Animals survive and act and react but only humans can opt out of this cycle and into the higher realm of inactivity. Just as silences make music more beautiful and pauses make conversations richer in meaning, it is inactivity- that is the moving beyond doing into being- that makes life human. Responding to stimuli alone, satisfying needs as they arise alone makes life nothing more than a cycle of biological survival.

The beauty is in the gaps. Art and culture arise from the blank spaces (which may be why these vital spheres in particular seem to be diminishing in this time of always on, always available activity). Uselessness and purposelessness4 are true luxury, true wealth. Look at any heart-stirring ceremony or custom or event- they are filled with detours and excesses, they are far from efficient. You could easily workshop a way of getting to the same basic endpoint much, much quicker and in doing so you would kill everything that made that ceremony unique and beautiful and, well, ceremonial.

The luxury of the aimless walk is one of the most accessible and readily available blank spaces we have. It is no coincidence that such a stroll will all of itself produce ideas and insights and new observations. In the absence of a task the mind will begin to play. It will be free. This is why walking and creativity go absolutely hand in hand. Insight comes to the contemplative and contemplation comes from inactivity, from not trying to generate insights, or indeed trying to do much of anything at all. In a try-hard world this is a difficult truth to convince people of. Because it asks for patience. It asks for more than mere effort. It asks for participation in the world as it is, which for the mind that has always trained itself to be busy is a big ask indeed. But it is the only way to be free."]]></description>
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    <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>
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[See also:
https://www.youtube.com/watch?v=Apbl6Iuqkvc ]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["PH: … I don’t want to make art that’s about say­ing that I did some­thing. I want to make art that does some­thing. I don’t always care whether peo­ple under­stand or not that I am doing it, but I want to know for my own sake that what I did had that impulse.

To me, that’s the enor­mous gap between art that claims to be about social change, and art that embod­ies social change. And that is why the rela­tion­ship between ped­a­gogy and art is absolutely cru­cial, because ped­a­gogy and edu­ca­tion are about empha­sis on the embod­i­ment of the process, on the dia­logue, on the exchange, on inter­sub­jec­tive com­mu­ni­ca­tion, and on human rela­tion­ships. The prod­uct may or may not be nec­es­sary or impor­tant. But it can­not hap­pen if this exchange does not take place. Art, tra­di­tion­ally, has not always been about the process. Ulti­mately in a museum when you look at a paint­ing, the process of its mak­ing is inter­est­ing to know, but it is not essen­tial to expe­ri­enc­ing the work. What mat­ters is that it’s there; that it hap­pened. In socially engaged art, that is the oppo­site: what is impor­tant is the process, and the process is inex­tri­ca­ble from the experience.

HR: What you are say­ing reminds me of some­thing that Shan­non Jack­son men­tioned in her talk at Open Engage­ment this past year. She said some­thing to the effect of what looks like inno­va­tion in one field may be old news in another field. And I’m think­ing about this in the way that some processes of edu­ca­tion are taken up in socially engaged art.

I was read­ing a bit about Reg­gio Emilia before I came to meet you, because I had learned that you have a Reg­gio Emilia com­po­nent in the show down­stairs. I found this quote by Loris Malaguzzi: “We need to pro­duce sit­u­a­tions in which chil­dren learn by them­selves, in which chil­dren can take advan­tage of their own knowl­edge and resources… We need to define the role of the adult, not as a trans­mit­ter, but as a cre­ator of rela­tion­ships — rela­tion­ships not only between peo­ple but also between things, between thoughts, with the envi­ron­ment.”[ii]

PH: Sounds a lot like socially engaged art, right?

HR: Right! But I wanted to ask you about where we diverge. It feels like we may be in a com­pro­mised posi­tion. As artists there is an imper­a­tive to par­tic­i­pate in a cycle of pro­duc­tion, to be acknowl­edged as authors, or to be thought of as pri­mary authors, and to par­tic­i­pate in an art dis­course. In what way do we have to diverge from edu­ca­tional processes?

PH: We still belong to a tra­di­tion of art mak­ing where things acquire dif­fer­ent mean­ings depend­ing on the con­text. So like Duchamp’s uri­nal, of course it’s use­ful as a uri­nal and when it becomes art it becomes use­ful in other ways as art. And like what Tom Fin­kle­pearl was say­ing, it’s time to put the uri­nal back in the bath­room[iii], because we’ve come to a point where the use­ful­ness of art as aes­thet­ics has run its course. So it’s time to go back and think about aes­thet­ics as some­thing that func­tions in the world in a dif­fer­ent way.

Which cre­ates an inter­est­ing prob­lem: why don’t we just aban­don aes­thet­ics alto­gether? Why don’t I just become a Reg­gio Emilia edu­ca­tor since their phi­los­o­phy is close to what I do? Maybe I should just move to Italy and teach lit­tle kids. There’s this ten­dency by young artists of think­ing: “maybe I’m just doing some­thing ill informed and ridicu­lous, and I might as well just become a pro­fes­sional in what­ever field I’m inter­ested in. Maybe I should become a hor­ti­cul­tur­al­ist”, or what­ever. The other side is that the artist is per­form­ing roles that are osten­si­bly per­formed bet­ter by pro­fes­sion­als of those dis­ci­plines, like in Rirkrit’s case: the edu­ca­tors do it so much bet­ter than them, so why is he get­ting the credit? And why is what edu­ca­tors are doing not con­sid­ered art? Why should a mediocre edu­ca­tion pro­gram be cel­e­brated as this won­der­ful rela­tional aes­thet­ics piece, when a won­der­ful edu­ca­tion pro­gram that really changes people’s lives can never be con­sid­ered an impor­tant artwork?

So the issue is really, what is the con­tex­tual social ter­ri­tory where this takes place? Where are you stak­ing your claims? And where are you pro­duc­ing crit­i­cal­ity? To sim­ply say that Reg­gio Emilia is a great art­work is com­pletely untrue. That’s not their goal; their goal is to cre­ate bet­ter cit­i­zens for the world, etc. As an artist, what becomes really inter­est­ing is to con­sider this think­ing within the con­text of art mak­ing, the con­text of the role of art in soci­ety. Art, for bet­ter or for worse, con­tin­ues to be this play­ing field that is defined by its capac­ity to rede­fine itself. You can­not say, “This is not art!” because tomor­row it could be, or “It can be art,” because I say it is. Art is a space, which we have cre­ated, where we can cease to sub­scribe to the demands and the rules of soci­ety; it is a space where we can pre­tend. We can play, we can rethink things, we can think about them backwards.

But just to clar­ify: when I say that Reg­gio Emilia is not real art, I don’t think it’s enough to make art with “pre­tend” edu­ca­tion. I don’t think one should jus­tify the use of any sem­blance in edu­ca­tion for the sake of art, as was the case of that children’s activ­ity by Rirkrit I described, unless if you are just meant to be jok­ing or play­ing (which is not very inter­est­ing to begin with). My point is that when you are mak­ing cer­tain claims, or even gen­er­at­ing cer­tain impres­sions about what you are doing, you need to do them in an effec­tive way in order to really affect the world, oth­er­wise your artis­tic inter­ven­tion in the social realm is no dif­fer­ent from mak­ing a paint­ing in the stu­dio. And there is a dif­fer­ence between sym­bolic and actual intervention."

…

"PH: Why is it that we can be very crit­i­cal of stan­dard art­works that we under­stand the para­me­ters of? We can be very crit­i­cal of this work because we are very famil­iar with for­mal­ism and with abstrac­tion, and there are a slew of the­o­ret­i­cal approaches. When­ever you do an abstract paint­ing that looks exactly like Mon­drian, peo­ple will tell you that your work is not very rel­e­vant because you’re just copy­ing Mon­drian. And yet, you’re com­pletely home free if you do this con­cep­tual project of a school that doesn’t teach any­body and where nobody learns any­thing, but it looks really great in the press release.

HR: So by “abstract edu­ca­tion” you meant projects that use the lan­guage and frame­work of edu­ca­tion, but don’t func­tion as education?

PH: It’s com­pli­cated. Because I don’t want to say that it’s bad to do that. Some­times you just want to do a project that’s about the idea of this or that. You want to do a project that’s about dance; it doesn’t mean that you have to dance. It’s very dif­fer­ent to do a paint­ing about war, than to par­tic­i­pate in a war.

That’s why in my book, Edu­ca­tion for Socially Engaged Art, I tried to address this prob­lem by mak­ing a dis­tinc­tion between what I under­stand as sym­bolic ver­sus actual prac­tice. What I tried to argue in the book is that in art, the strongest, more long­stand­ing tra­di­tion is art as sym­bolic act; art that’s a rep­re­sen­ta­tion of the world. You make an art­work that is a thing on its own, but it addresses the world. Guer­nica is a sym­bolic act. It tells you about the hor­rors of Guer­nica, the mass killings.

In the 60s that starts to change, artists don’t want to do things about the world; they want to do things that are acts in the world. That’s why per­for­mance art emerges. I’m not going to make a the­atre piece where I pre­tend to be x, y or z. I’m going do a real live action where I am Pablo Helguera and I’m talk­ing to you, Helen. And we’re going to have this expe­ri­ence, and this expe­ri­ence can only pos­si­bly exist in this moment in time and never again, any­where else. And that’s what this art­work is about. That’s what Fluxus was about, that’s what John Cage talked about, and that’s what Alan Kaprow’s hap­pen­ings were about; it’s a very Zen idea. Suzanne Lacy’s per­for­mances, for exam­ple, they were about these women at this moment. It might be art his­tory later. It might later become a prod­uct. But the fact of the mat­ter is that what it is at that moment can never be repeated.

So, to me, socially engaged art emerges from that tra­di­tion of the here-and-now. What the “here-and-now” means, in my view, is that the artis­tic act is inex­tri­ca­ble from the time/place con­text, but that it also affects it in a very direct way. The work needs to be under­stood, described, and pos­si­bly eval­u­ated and cri­tiqued in terms of what those actual events were. When­ever you don’t have that infor­ma­tion, which is unfor­tu­nately most of the time, there is no way to know whether it hap­pened or not. Those projects that you know are really cre­at­ing an impact, that they have a pres­ence; it’s almost self-evident. I mean what­ever you want to say about Tania Bruguera’s Immi­grant Move­ment Inter­na­tional, you can go there today and see it. It’s hap­pen­ing right now. She isn’t mak­ing it up.

HR: Can you talk about the ten­sion between use­ful­ness, ambi­gu­ity, and learn­ing out­comes? You men­tion that we eval­u­ate things all the time any­way. How do you eval­u­ate art ped­a­gogy projects?

PH: Cre­at­ing an ambigu­ous expe­ri­ence doesn’t mean that you can­not eval­u­ate it. It only means that you have to think about it dif­fer­ently. We are not doing a Reg­gio Emilia School down­stairs in the Com­mon Senses Instal­la­tion. If some­one came here and said, “well this is not a Reg­gio Emilia School, so you have totally flunked!” From this per­spec­tive we cer­tainly have failed. But that’s not what it is meant to do; it’s meant to bring vis­i­tors to the museum, to encounter it.

If you ana­lyze a Fluxus per­for­mance and you say, “Well this guy is a really bad actor, he’s not Ham­let.” Of course he’s not Ham­let, this is not Shake­speare; it’s Fluxus. It sets its own ratio­nale. And when you start becom­ing inter­ested in Fluxus you real­ize that it has its own inter­nal logic. Then you real­ize that this is a bet­ter Fluxus piece than this other one, because this cre­ates a bet­ter sit­u­a­tion for what Fluxus is try­ing to do, which is cre­at­ing this open space of play­ing, of irrev­er­ence, of attack­ing bour­geois ideas about art. For these rea­sons this one piece is par­tic­u­larly suc­cess­ful. So you can set your own terms of success.

You might say, well I am not doing a school, I’m just going to pre­tend I’m doing a school; I’m mak­ing this fic­tional school. If that’s clear from the onset then it’s much eas­ier. If, on the other hand, you’re try­ing to have your cake and eat it too, which means that I’m going to say that I’m doing a trans­for­ma­tional project but in real­ity I’m just going to pre­tend I am doing it. That’s when your project com­pletely falls apart. And it’s com­pletely clear; the moment that you scratch it you real­ize that there is no sub­stance to it."

…

"PH: All these reflec­tions lead me to think that I don’t want to move into the hills, I like work­ing in muse­ums. And at the same time, I real­ize that these cri­tiques also get insti­tu­tion­al­ized and that the museum actu­ally loves them. Now Andrea Fraser is in the gal­leries; she finally has been col­lected and so what does that mean?

My con­clu­sion was that we can best be rev­o­lu­tion­ar­ies when we best learn how to be insti­tu­tional. Occupy Muse­ums tried to occupy here at MoMA. The moment they got inside MoMA they didn’t know what to do, because they were like, “Do we burn it down?” What does that do? I’m com­pletely aware of how power sup­ports art and how we’re com­pletely depen­dent on that power. But to have this atti­tude like, “Let’s just destroy the museum!” Look at the Bagh­dad Museum, for exam­ple. At the recent Cre­ative Time Sum­mit Michael Rakowitz showed that image of the looted Bagh­dad Museum and it was hor­ri­fy­ing. No one said, “Great! They destroyed the sym­bol of power!” No, it’s a huge tragedy. We lost an incred­i­bly impor­tant part of civ­i­liza­tion and cul­ture, which will never come back. They erased a chap­ter of his­tory. There’s noth­ing worse than that.

So yes, I want to pro­tect the museum. The idea of pre­serv­ing the past doesn’t have to be in con­flict with the idea of being rev­o­lu­tion­ary. Instead of burn­ing down insti­tu­tions, why don’t we just build some­thing else, like what Buck­min­ster Fuller used to say. Instead of cri­tiquing the cur­rent sys­tem, you have to make a new sys­tem that will ren­der the pre­vi­ous sys­tem super­flu­ous or irrel­e­vant. So as artists we need to build insti­tu­tions, we need to be institutional."]]></description>
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    <title>Alexandra Lange on 3D printers versus the sewing machine</title>
    <dc:date>2014-05-13T18:18:02+00:00</dc:date>
    <link>http://www.dezeen.com/2014/05/08/3d-printers-have-a-lot-to-learn-from-the-sewing-machine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In March, Slate Magazine's Seth Stevenson provided a public service when he borrowed a Solidoodle 4, pitched as the "accessible", "affordable" 3D printer, and attempted to print a bottle opener from Thingiverse. [http://www.slate.com/articles/technology/technology/2014/03/solidoodle_4_testing_the_home_3_d_printer.html ] Results, as they say, vary, but he ended up, after a series of phone calls and false starts, with "a functionless, semi-decorative piece of plastic."

The bumbling encounter with technology is a popular stratagem for Slate, but here it pointed directly to the reason we're not seeing a 3D printer in every den. I've seen those rhino heads, those dinosaur skulls. They do not fill me with delight, but remind me instead of the cheap toys my kids bring home from birthday parties and I throw away in the night. Why bother? How is printing your Triceratops at home more creative, more making, than buying one from a store? In either case, step one is scrolling through pages of online options, pointing and clicking in 2D.

Stevenson concluded that 3D printing was no place for amateurs, but for tinkerers. Those able to work under the hood of the printer: to understand the terms in the manual, to customise or create their own products for Thingiverse. For such tinkerers, neighbourhood printing hubs like Techshop, where subscribers can go to use physical or digital tools, make more sense. Designers taking advantage of 3D printers' capabilities for rapid prototyping and small-batch production have already started farming out the actual printing to places like Shapeways. When we stopped having to fax even weekly, we all got rid of those machines.

But then Stevenson took a turn toward the larger question of craft. He wrote, "Once upon a time, people purchased sewing patterns (like a program from Thingiverse) and yards of fabric (like filament) and they made their own clothes. I wasn't alive back then, but I'm pretty sure the process sucked."

I must be older than Stevenson, because my mother and grandmother sewed clothes for me. My mother, aunt and I have all sewed clothes and quilts for my children. They are not amateurishly constructed. We managed to make them while also holding down full time jobs. And judging from the extremely active online sewing community, the active trade in old machines and patterns on Ebay, and the ease with which one can locate a scan of a thirty-year-old sewing machine manual, the digital age has not turned sewing into a novelty, but spawned a revival of interest. In fact, if 3D printers are truly going to become a consumer good, they have a lot to learn from the sewing machine.

Because Stevenson snidely generalised from his own limited experience, he missed the instructive dialogue between craft and the machine age. Post-industrial sewing is not a freak but a respite. In Evgeny Morozov's recent New Yorker essay on the new makers, he quotes historian Jackson Lears' critique of the Arts & Crafts movement as "a revivifying hobby for the affluent." I'd say middle-class: (mostly) women who aren't seeing what they want, at a price they can afford, in the marketplace.

There’s an appetite for the "refashion," recycling an old dress or an adult T-shirt, and turning it into something new. Once upon a time, the use of flour sacks as fabric prompted grain-sellers to start offering their wares in flowered cotton bags. If some boutique grain company began doing that again, there would be a run on their product. Under the technology radar, there's a community of people sharing free patterns, knowledge and results, without the interpolation of brands, constantly obsolescent machinery, or the self-serving and myth-making rhetoric Morozov finds in Chris Anderson's Makers. There are the answers to the questions "Why bother?" and "How creative?" Rather than sewing being a cautionary tale, 3D printing can't become a consumer good until it learns a few lessons from why we sew now.

Number one: what's not available on the market. If you have a girl child in America, it is often difficult to find reasonably-priced, 100 per cent cotton clothing for her without ruffles, pink or purple, butterflies and hearts. If you go to the boy section, you run into an equally limiting set of colors, navy and army green, and an abundance of sports insignia. A full-skirted dress, a petite skirt, prints for the plus-sized – there are plenty of styles that are not novelties but, when not in fashion, disappear from stores. Online you can find patterns to make any of the above for less than $10, and fabric at the same price per yard. Online you can find step-by-step explanations, with photos, of how to make that pattern. That world of patterns is vast, constantly updated, and historically rich. Yes, sewing your own garment will take some time, but then you will have exactly what you want. That's why women bother.

…

Second lesson: recycling. Say my mother did actually sew something amateurishly. That's not the end of the story. A mis-printed jet-pack bunny is so much trash (unless I buy a second machine like a Filabot to remelt my filament). A mis-sewn seam can be ripped out and redone. An old dress can be refashioned into a new one. A favorite vintage piece can be copied. Sewing does not create more waste but, potentially, less, and the process of sewing is filled with opportunities for increasing one's skills and doing it over as well as doing it yourself. What are quilts, after all, but a clever way to use every last scrap of precious fabric?

So far, 3D printing's DIY aspects seem more akin to the "magic" of an ant farm, watching growth behind glass. Sewing lets the maker find their own materials, and get involved with every aspect of the process. 3D printing could do this, and there are classes, but even at the Makerbot showroom the primary interaction seemed to be ordering from Thingiverse. My local sewing shop has to teach more women to sew to survive; I don't see the printer makers coming to the same conclusion.

In addition, the machines themselves are constantly becoming junk. It's not unusual for new technology to change quickly. That's the fourth Solidoodle since 2011. Makerbot is on its fifth generation. It is early days for 3D printing, and the machines may eventually stabilise. But the rapid obsolescence suggests a lifecycle closer to that of a mobile phone than of a washing machine, which might also turn consumers off. The sewing machine was considered a lifetime purchase.

Last but not least, sharing. This is the one consumer area where 3D printing approaches sewing's success. From the Free Universal Construction Kit to full-body scans, the idea of open-source, free, and social-media enabled printing has been built-in to the 3D process. Showing off what you made is better when you created it, rather than printed it out. On the sewing blogs, the process pictures are half the fun, and most of the interest. What does it really teach your children when you can get doll house furniture on demand, except a desire for ever-more-instant gratification? For me to believe in 3D printers as a home machine, I'd have to see the digital file equivalent of women in their off-hours, making up patterns as they go along, sharing mistakes, dreaming better dreams. 3D printing feels bottled up, professionalised, too expensive for the experimentation of cut and sew and rip and sew again.

Stevenson wrote, "most people would much rather just get their clothes from a store — already assembled by people employing industrial-level efficiency and a wide variety of materials," and that's true. What Solidoodle and Makerbot and the rest should be looking at is the people who have seen everything in the store and found it wanting."]]></description>
<dc:subject>alexandralange 2014 sewing 3dprinting makerbots making makers repair reuse glvo sharing obsolescence process howwework cv waste utility technology fabrication alteration thingiverse purpose usefulness solidoodle makerbot recycling agency need necessity patterns clothing wearables techshop shapeways sethstevenson craft lcproject openstudioproject homeec repairing</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:8243f6548247/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:techshop"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openstudioproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homeec"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repairing"/>
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</item>
<item rdf:about="http://weeklydispatch.tumblr.com/post/17508286191/week-2">
    <title>Week 2 - Weekly Dispatch</title>
    <dc:date>2012-02-20T01:21:54+00:00</dc:date>
    <link>http://weeklydispatch.tumblr.com/post/17508286191/week-2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["a blog post by Tag Savage [http://sexpigeon.org/post/16729718345/path-puts-a-silly-amount-of-trust-in-its-avatars ] about Path’s user interface choices in their app. Central tennent: if a place is too pristine and planned, it can’t be colonized. Tag’s words:

"Path is pretty in the same designy way as our modern museums. […] These museums are very exciting when they open. You show up and marvel along with all of the other fans of architecture. Maybe you return for one of those nights where they stay open late and there is a band and drinking. “A great space,” you think. […] The art doesn’t get talked about so much at these museums."

Path is a monument to Path. It is no place to scribble in. I wish it longevity so that it might find shabbiness.

A tricky balance, to be sure, but one that must be navigated if a product is dependant on user’s content. Part of the product must be left undone to provide the opening for the user to contribute."
]]></description>
<dc:subject>pristineness usefulness architecture ownership space place museums over-planning planning tagsavage frankchimero wabi-sabi comfort approachability shabbiness 2012 colonization path</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50390453dbef/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ownership"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:over-planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tagsavage"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comfort"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:approachability"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonization"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Chind%C5%8Dgu">
    <title>Chindōgu - Wikipedia</title>
    <dc:date>2011-11-28T06:31:00+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Chind%C5%8Dgu</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Chindōgu (珍道具?) is the Japanese art of inventing ingenious everyday gadgets that, on the face of it, seem like an ideal solution to a particular problem. However, chindōgu has a distinctive feature: anyone actually attempting to use one of these inventions would find that it causes so many new problems, or such significant social embarrassment, that effectively it has no utility whatsoever. Thus, chindōgu are sometimes described as "unuseless" – that is, they cannot be regarded as 'useless' in an absolute sense, since they do actually solve a problem; however, in practical terms, they cannot positively be called "useful.""]]></description>
<dc:subject>japan chindogu technology inventions culture design gadgets uselessness usefulness utility sideeffects</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0f7dfaab3aef/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utility"/>
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</item>
<item rdf:about="http://stevemiranda.wordpress.com/2011/11/22/apprenticeships-and-internships/">
    <title>Apprenticeships and internships « Re-educate Seattle</title>
    <dc:date>2011-11-25T20:06:28+00:00</dc:date>
    <link>http://stevemiranda.wordpress.com/2011/11/22/apprenticeships-and-internships/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m using these two words—apprenticeship and certification—in a way that’s overly simplistic, but I’m doing it to make a point: when your daughter heads off to school each morning, does she treat it like an apprenticeship or an internship?

Is she more concerned with learning something interesting, or her GPA? Is she developing deep relationships with mentors, or merely securing snazzy letters of recommendation? Is she learning something useful right now, or participating in a ritual as preparation for the future?

* * *

Here’s perhaps the most important question: does your daughter’s school view it’s work as closer to providing apprenticeships, or internships?"]]></description>
<dc:subject>stevemiranda 2011 pscs learning apprenticeships internships unschooling deschooling learningbydoing credentials grades grading tcsnmy toshare usefulness meaning purpose pugetsoundcommunityschool</dc:subject>
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</item>
<item rdf:about="http://www.popmatters.com/pm/post/137272-/">
    <title>Useless Labor and Production of the Self &lt; PopMatters</title>
    <dc:date>2011-03-08T16:04:02+00:00</dc:date>
    <link>http://www.popmatters.com/pm/post/137272-/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’re doing useless things and collecting the dole like the rest of our peers, so what makes us stand out?

Hence the field of consumption becomes the field of distinction and social recognition as well, and consuming becomes a sort of semiotic labor that absorbs more and more of our natural inclination to do something regarded as socially useful. (And Shop Class as Soulcraft-style retro crafts like carpentry and gardening and Etsy-ism start to register as consumerist hobbies, not “real” production.)  Social media supplies the factory and distribution center for this sort of work, as well as the scoreboard in the form of data about just how many people are paying attention to you. We produce content and links to try to “connect” to others, that is, have them regard us as socially necessary the way, say, in the 19th century the village blacksmith was vitally necessary when the horse you were traveling on pulled up lame…"]]></description>
<dc:subject>culture consumerism technology society automation 2011 hipsters hipsterism shopclassassoulcraft meaning self identity socialrecognition etsy production make making diy contentcreation glvo legitimacy usefulness</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6e3a7e823d24/</dc:identifier>
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</item>
<item rdf:about="http://37signals.com/svn/posts/2127-men-dont-like-appliances-we-want-things-t">
    <title>Quote: Men don’t like appliances. We want things t - (37signals)</title>
    <dc:date>2010-01-30T20:34:35+00:00</dc:date>
    <link>http://37signals.com/svn/posts/2127-men-dont-like-appliances-we-want-things-t</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Men don’t like appliances. We want things that can do lots of different things, that we can tweak and fiddle with, and then argue with each other about which one is better. Women aren’t like this, and because of this I have a feeling that it’s women who actually determine the eventual winners in consumer tech." — Ultimi Barbarorum on the iPad. Who knows if it’s true. But I can say this, whenever we hear praise from women on a product, it gives me more confidence that we hit the “useful” mark."
]]></description>
<dc:subject>ipad 37signals gender women usefulness singlefunction multifunction complexity design apple software simplicity ui men appliances</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:626fe2752e80/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multifunction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simplicity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ui"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:men"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:appliances"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.paulos.net/papers/2009/manifesto2009.html">
    <title>Manifesto of Open Disruption and Participation by Eric Paulos</title>
    <dc:date>2009-02-20T22:26:14+00:00</dc:date>
    <link>http://www.paulos.net/papers/2009/manifesto2009.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ubiquitous technology is with us and is indeed allowing us to communicate, buy, sell, connect, and do miraculous things. However, it is time for this technology to empower us to go beyond finding friends, chatting with colleagues, locating hip bars, and buying music."

[via: http://www.nearfuturelaboratory.com/2009/02/20/eric-paulos-open-disruption/ ]]]></description>
<dc:subject>ericpaulos ubicomp ubiquitous technology politics environment activism computing design religion disruption manifestos usefulness participatory participation gamechanging tcsnmy lcproject</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c2412431018f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ericpaulos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ubicomp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ubiquitous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:activism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:computing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disruption"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manifestos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:usefulness"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamechanging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.tinygigantic.com/2008/07/31/smart-people-traps/">
    <title>tiny gigantic » Blog Archive » Smart-people traps</title>
    <dc:date>2008-08-03T03:28:46+00:00</dc:date>
    <link>http://www.tinygigantic.com/2008/07/31/smart-people-traps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Professions...tempted by rewards...pressured by family, culture...cannot leave security of pre-defined track...unwilling to explore themselves enough to see individual course...for many there is no passion or purpose, no vision or meaning, no intuitive individual truth...soul-sucking 2. Smart people are good at school...tempted to stay...whole lives...get into spiral of irrelevance & isolation from rest of world 3. Politics...trap...in order to change world through politics, you must gain power...4. Critical thinking...spend all formative years getting rewarded for finding problems...focusing on negative...leave school thinking way to be useful & show smarts is to point out why things won’t work, rather than using smarts to find a way forward"
]]></description>
<dc:subject>society careers culture intelligence education criticalthinking cv work vocation gtd behavior thinking life yearoff gamechanging making learning deschooling unschooling problemsolving creativity professionals professions change freedom value lcproject usefulness academia intellectualism cynicism entrepreneurship activism politics rewards fulfillment via:preoccupations</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b05235a3bdf0/</dc:identifier>
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