121 Matching Annotations
  1. Oct 2020
    1. The Copenhagen Free University has never wanted to become a fixed identity and as a part of the concept of self-institutionalisation we have always found it important to take power and play with power but also to abolish power. This is why the Copenhagen Free University closed down at the end of 2007. Looking back at the six years of existence of the CFU we end our activities with a clear conviction and declare: We Have Won! 

      The CFU ‘s take on education is an interesting proposition. By trying to make a break with "corporate" controls on knowledge production, they highlight how universities have been industrialised as centres for information and cultural production becomes the central commodity. The CFU also invites as to ask whether even progressive objectives are absorbed and recast in a language of financialisation and entrepreneurialship. By asking who can produce knowledge and who can then subsequently use it, they also ask what that knowledge can then be used for. Clearly for CFU, the knowledge is used for the wielding of power and controlling social relations through cultural hegemony. This last part is not a new idea, but one that CFU set forward and questions very intelligently for the CFU itself is, to my mind, counter-hegemonic, incorporated into a wider political programme the model of CFU could be part of what Grasmci called "the war of position", the setting up of alternative institutions to create a proletarian, socialist (or anti-capitalist) culture. In epistemological terms, the impact that CFU and Rogoff has on our enquiries seems to be that we cannot have any free or open learning unless we break out of the parameters of neoliberalism. For CFU, this is the "corporate" university itself, whereas, for Rogoff, this is the confines of privatised education and the "professionalised" technocrats that go with that, more generally. What CFU want us to ask about education is how can interdisciplinary and peer2peer learning be utilised to produce knowledge that is valid in its own right, regardless of whether it produced any final product or paper. For CFU, education is about sharing and mutual empowerment. This is something that I find to be most significant about CFU, the fact they welcomed people into their space, with those people allowed to bring their own emotional and existential baggage ("The kitchen, the bed, the living room made up our anything-but-sterile laboratories. Dreams, unhappiness, rage were all over the architecture.") to discuss ideas and produce knowledge, not for some material gain but to share ideas independent of the existing corridors of power and to disrupt those corridors of power and gain power and control over their education, rather than have their education monopolised. Some issues arising, however, for me are to what extent is this an anti-capitalist endeavour or anti-authority endeavour? What role would they play in a post-capitalist society, if a achieving such a society is their goal? Would they dissolve themselves, job done, or would they carry on functioning and contributing to educational discourse and knowledge production in a world free of capitalist monopolisation and industrialisation of knowledge? They are also exposed to something of a reformist argument that everyone going off and creating their own universities is cruelly optimistic at best and a fantasy at worst and that, rather than purely working from outside, work needs done inside our universities to liberate education from the stranglehold of corporate interests and practices and bring radical perspectives inside it, as well as working outside too to generate a discourse that can bring about a sea change.

  2. Sep 2020
    1. These characterizations of reason therefore require re-thinking with reason itself.

      The approaches to critique adopted by the Left and Right, in Beech's view, is wrong and needs corrected by re-establishing what meaning is - not something controlled by "the status quo" - but something that is about applying logic, adapting to or justifying practices, and establishing beliefs on the basis of new or existing information, not ideologically motivated opinion.

    2. to picturethe world as it ought to be.

      Art's epistemology and ontology should deliver as to reason, but should do so in a way that is not ideologically loaded or beset with "dark logics" that limit human knowledge and understanding?

    3. Artis to invest in the task of making judgements and distinctions between what are correct and incorrect forms of reason,including a healthy skepticism towards thisre-thinking of the claims of critique as means to hold reason in check.

      Does this mean that art should be ideologically neutral, pursuing only an epistemological project that enlightens us rather than weaponising us in an ideological pursuit? If so, this reminds me of Kant's idea of disinterestedness

    4. This extraction from the empirical and the referential must be supported by the idea of reason for reason in itself.

      So art's space is to help us think, understand and make judgements logically?

    5. The idea of challenging forms of dominance,byrevealing the truth of the construction of power that subtends it, also seems unviable in the pluralist era of neo-liberal capitalism. These Marxian inspired conclusionsseem to be weakly-made points when the everyday is always already hyper-commoditized, when there is no such thing as nature, and when we are always already implicated in any judgment no matter how objectively it is proposed.

      This just reinforces the Marxian point of you, rather than negating it. The end of history ideology that underpins this is really latent and exposed as weak itself by everyday life.

    6. in a theistic nature –art, human, knowledge.

      The culmination of the epistemological project. The was the epistemological project of art seems to loom large over art and "human consciousness" reminds me of this by Marx and Engels: "The phantoms of their brains have gotten out of their hands. They, the creators have bowed down before their creations” - The German Ideology

    7. art-market’s good subconscious.

      Arguing that the art market has good motivations, but is corrupted by commodification or art and - through the idea of art as an epistemological project - is knowledge production.

    8. post-conceptual art

      an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional aesthetic and material concerns.

    9. It would seem that art cannot live without this regressive and dark epistemology,since this expression of finitude as absolute has characterized our contemporary definition of critiqueand sustained an art market –a healthy economy of critique.

      Useful for presenting on why epistemological is a keyword.

      Are we in a constant battle to produce new knowledge? Is art constantly trying to push human consciousness forward to ask questions, discuss problems and overcome them? Is this production of knowledge, this attempt to solve contemporary problems or come up with contemporary answers for existing problems - thus moving knowledge forward - what makes art important, first of all, gives it contemporaneity, second of all, but a factor in sustaining the art market and the political economy of contemporary art? If so, this seems dark that knowledge production - through art - is really a pseudonym for commodity production.

    10. Via these Modernisms, Art has been assertedas an epistemological project, a place to know what knowing is, to question what knowing is,and in doing so to state the condition of what it means to be human. Inthis category,art claims a form of understanding beyond mechanized power.

      A useful section for presenting on why "epistemological" is a keyword.

    11. from it as if it were a thing that could be representedbut not understood.

      This is indeed one of the problems that philosophers of consciousness have always grappled with from the beginning. The best representation that Descartes could come up with for consciousness was himself!

    12. what we can and cannot know;what is within and what is beyond our control.

      Thinking abstractly in order to depict, discuss and/or solve a problem, something which is unique to "human consciousness."

    13. What we see here is how a crisis of knowledge becomes embraced as the highest form of expressing humanunderstanding in and ascrisis.

      Arguing here that our knowledge is what makes us human and conscious? When we struggle to account for knowledge, we struggle to account for how we can come to know things.

    14. The mind constructs the values that it judges.

      The mind of who? The individual? Values and - arguably - the judgements we make of them are socially constructed, not imagined by the loom of the mind.

    15. that we areconstrainedto the unreality of our lived experience.

      I have a real issue with this point of view. Surely what lies behind the skill of art or even something more rudimentary as tool making requires an ability to think abstractly to solve a problem? If so, how does this square up with a point of view that we are constrained or unable to escape our own "pathologies, desires, spontaneities and myths?

      If Beech is attempting to argue here that we are "trapped" in our time, that we cannot come to know things above, beyond or outside of where we are today, ie arguing that the knowledge we have and produce is socially constructed, I concur with that. However, to leave it at that is very deterministic and does not account of the agency of an individual or group to think abstractly to overcome a problem or depict that problem (as is often the case in art).

    16. “human consciousness”

      Consciousness is a nebulous term, which is very loosely defined here as some sort of human ability to know or beware of the state of being. It is a lot more nebulous than that, rather like analysing art.

    17. epistemological project

      Emerging as a keyword throughout this piece. It means the theory of knowledge, how we come to know things in relation to methods, validity and scope in the distinction between a justified belief and pure opinion.

    18. Together, these condemnations of reason identify reason as a cultic value that is destined to evil forms of dominance. Reason is a threat to both communityand self-hood.

      I think the insistence of framing the Left and Right as both sides of an irrational, ideological coin is misguided and is couched in the language of the 1920s-30s, on the one hand, and a fear that today is a near carbon copy of those times.

      I also think it's really irrational to claim that the Left and Right are both equal threats to what is being defined as reason here. It was not all that long ago that cultural theorists were arguing that Marxism was some sort of "self-actualisation" of the Enlightenment, freeing the Enlightenment from its colonial contradictions of racism and social contradictions of capitalist exploitation.

      It's also reliant on a post-cold war, 'end of history' position that ideology should be left out of politics, culture and, by dint of trickling down, art.

      But, more importantly, how is the Left talking about egalitarianism as much of a threat to reason as, say, people who want refugees to be left to drown in the English channel and shot if need be?

    19. The equivalence between reason, representationalismandover determining forms of political power is a narrative that subtends and pervades modern and contemporary philosophical critique,but this view is not only shared by the Left.It is also highlighted by the Right in apopular suspicion of the public intellectual that pervades global media and society,where suspicion towards any demonstration of thinking remainslive. Both Left and Right share an opposition toorder in this sense;theLeft in the name of egalitarianism, and the Rightin the name ofa politics of individuation, difference and accumulation.

      This is basically describing what is called "Populism" itself a keyword for our modern political era. However, I do not think the Left so easily fits the mould as the right wing does and very much believe that the Right have set and control the populist agenda. In the words of Yanis Varoufakis, we are in an era of the "Nationalist International".

  3. artasprocessfa2011.files.wordpress.com artasprocessfa2011.files.wordpress.com
    1. The government's key term here is ‘social inclusion’: the arts compensate for social exclusion through socially inclusive strategies.

      It's interesting reading this in 2020 in the context of Covid and seeing how our deeply anti-social culture - that is highlighted as an issue back when this was written is still plaguing us today (pardon the pun). I'm not overly convinced that artistic strategies are the way to solve this, particularly since the ones deployed relate to flexible working, monetising time, being entrepreneurial, networking (which is code for financialising your relationships with people) and generating hype. All of these, in my view, exacerbate structural inequalities and intensify our anti-social culture.

    2. English history.

      The miner's strike was a UK wide strike, Orgreave should be seen as part of British working-class experience and not English working class experience.

    3. Politics and aesthetics therefore overlap in their concern for equality, their ways of intervening in how ideas are made and distributed, and the forms of their visibility. In short: the aesthetic need not be sacrificed at the altar of social change, because it already contains this ameliorative promise.

      I have a lot of doubts about this. It's too metaphysical and assertive, for a start. I view politics as concentrated economics and so, for me, this seems like depoliticisation.

    4. By contrast, I argue that shock, discomfort, or frustration—along with absurdity, eccentricity, doubt or sheer pleasure—are crucial to a work’s aesthetic and political impact.

      Agreed. Although, someone like Dali can go away.

    5. because for him, this position turns the artist into a privileged bearer of insights, patronizingly informing audiences as to ‘how things really are

      There is an element of truth in this for me, but I do still think this is a valuable practice in art, especially today in the context of fake news or where the battle of ideas right now is so coarse. In such a context, do artists have time for niceties?

    6. identity politics,

      I really dislike this term as it has today been weaponised by the far right as a means to delegitimise the LGBT rights agenda.

      I know that's not what is happening here, but I still find it cloying.

    7. the better work exemplifies a superior model of collaborative practice, where authorship is suppressed in favour of facilitating others’ creativity.

      What lessons are here for us when we talk about open learning and collaborative learning practices?

    8. work exists on the level of art education and neighbourhood events, we can see them as dynamic members of the community bringing art to a wider audience.

      North Edinburgh Arts do similar sorts of work, or, at least, come to mind here.

    9. The latter are the most insidious: social participation is viewed positively by the government because it creates submissive citizens who respect authority and accept the ‘risk’ and responsibility of diminished public services.

      Bishop says here that neoliberal positions are omitted from the writing of artists and curators, but this seems like a neoliberal position to me.

    10. The production and reception of the arts has thus been reshaped within a political logic, where audience figures, marketing and statistics are essential to securing public funding.

      This is a really good point. Art that produces measurable and quantifiable outcomes is doomed to become mere pop culture that, in Adornos terms is not so much about engaging, but placating work weary workers.

    11. ‘One reason why artists are no longer interested in a passive process of presenter-spectator’, writes the Dutch artist Jeanne van Heeswijk, is ‘the fact that such communication has been entirely appropriated by the commercial world [...] Afterall, nowadays one could receive an aesthetic experience on every corner’.

      A very good point and one I'm sympathetic with. Capitalism has begun to blur the lines between art and craft with even restaurant experiences being turned into an aesthetic one and an emphasis on presentation becoming more and more relevant as well. I definitely think there has been the development of a restaurant "style" that features a stripped back, exposed interior on the one-hand and hand-cut chips and a pint of craft beer or craft gin on the other.

      I do wonder if there is a certain amount of conscious copying of the tactics of socially collaborative art and them being deployed in, a restaurant say, where the restauranteur and diner collaborate in an aesthetic experience. I think what I'm trying to say it, to what extent has socially collaborative art been emptied of its content but its "styles" and methods redeployed to sell a dining experience?

    1. The nature of the process was sharing and mutual empowerment, not focusing on a final product or paper, but rather on the process of communication and redistribution of facts and feelings.

      Peer2Peer learning to give each student power over their education.

    2. Our home became a public institution dedicated to the production process of communal knowledge and fluctuating desires.

      Interdisciplinary in its functioning and predicated on utilising a form of peer2peer learning as well.

    3. We demand the law be scrapped or altered, allowing self-organized and free universities to be a part of a critical debate around the production of knowledge now and in the society of the future.

      What is this future society? A postcapitalist one or post-legislation one?

    1. We wanted to take power.

      Take power in what sense? Over their own education? The education system as a whole? Or the wider political economic system of capitalism?

    2. Copenhagen Free University

      It's interesting how neoliberals have coopted the terminology around the word "free" into their rhetoric and strategies too. For example, the Conservative party pushed the concept of "free schools" into the public domain in the 2010s in the UK. The difference being here, of course, that it is not free from corporate practices and financialisaton, but free from the state. I think any new free uni on the CFU model that emerges going forward should make that distinction very clear.

    3. The kitchen, the bed, the living room made up our anything-but-sterile laboratories. Dreams, unhappiness, rage were all over the architecture.

      Imperfect, free from corporate niceness but real and "true".

    4. It has never been about joining the CFU, or any other university, but about opening your own university.  

      It seems that this model is about disrupting the capitalist monopoly on knowledge and capitalist monopoly on universities more specifically. However, there does not seem to be an end point beyond that. Is the aim to overthrow the capitalist system? Is the aim to merge all the other Free Unis into a sort of co-operative? If this is the case, what role would these universities play in a post-capitalist world? Would they just dissolve or wither as their function had been completed: the delegitimisation of capitalist knowledge production.

    5. Social Movement whose objectives became reformist and unclear.

      This, for now at least, seems to have culminated in the Corbyn Moment in the UK but can also be attributed to parties like Syriza in Greece and Podemos in Spain.

      It's also worth noting the ways in which the Occupy movement has been co-opted/incorporated into the movements above in those different countries.

    6. place for the sharing of knowledge among students (as the first universities were defined).

      This makes it sound as if the first universities were liberated from the class conflicts and contradictions of their time, they were not.

      It also makes it sound as if the university pre-2001 was a paradise of free thought, "liberated" from free market ideologies, this is also not true. What has changed is the scrapping of the grant system and replacing it with loans and debt which is something that does back up Jakobsen's premise here.

    7. Universities could in fact counter the hegemonic structures

      In what historical epoch should universities do this? Should they do this to disrupt capitalist hegemony and the whole epoch of capitalism? Or, should this be the case for the university in all societies and epochs, so post-capitalist societies too? In other words, should the university be an autonomous stakeholder in society holding structures to account whether they are capitalist or post-capitalist?

    8. Not only was the usability of the knowledge produced in universities becoming a contested area

      Is this questioning what use the knowledge produced in "financialised" universities is? Ie, is it loaded with "corporate practices"?

    9. the financialisation of our brains, our nervous systems, our subjectivity, our desires, our selves.  

      Financialisation now controls whole swathes of our society and how it lives. See Haiven, 2018.

      Rogoff seems to position the educational turn in the context of privatisation and technocratisation and it's interesting that here that Jakobsen's free university emerges out a trend in neoliberalism known as financialisation in which privatisation has - and technocrats too have - thrived.

      Financialisation here means, to me: the retreat of the welfare state, the decay of social bonds and the conditions of general precarity that seem to epitomise or moment, at least in a UK/US context.

    10. At the same time, many art workers in their hunt for a new function in society and new sources of income were getting involved in the corridors and boardrooms of the companies and corporations of the neoliberal economy. The artists acted as consultants and legitimators in branding and business activities relating to new ethical and social responsibility schemes and human resource management. The anger and hopes of the revolutionary avant garde had been deemed naive and artists were adapting to a new landscape of immaterial production. This told a sad story about society’s lost ability to dream. 

      This heavily reminds me of Max Haiven's book - earlier mentioned - Art After Money, Money After Art - whereby the work practices of the artist have come to be synonymous with the practice of work in general under neoliberalism in the financialised age. Flexible working, generating hype, be a risk taker and performative hucksterism.

  4. www.e-flux.com www.e-flux.com
    1. Telling truths in the marginal and barely-formed spaces in which the curious gather—this is another project altogether: one’s personal relation to truth.

      This sounds like a good idea, but in practice would it involve people who gather on the basis of their identities rather than their curiosities?

    2. Or, did we privilege the coming-together of people in space and trust that formats and substances would emerge from these?

      It seems very much like this is exactly what happened, which seems contra to the whole piece

    3. As a result, a new set of conversations between artists, scientists, philosophers, critics, economists, architects, planners, and so on, came into being and engaged the issues of the day through a set of highly attenuated prisms.

      Wasn't a whole section of this article about why this should no longer be the case, ie, a set of well trained workers discussing and deciding?

    4. Something is activated in us, perhaps even actualized, as we move.

      Is this suggesting that "we" evolve and find new solutions as we develop?

      I do think that this is maybe a bit of a romanticism of "turns", sometimes turns are brutal and, though Rogoff may not like it, technocratic or hard to adjust to. It seems as if Rogoff is suggesting we acquiesce to these easily.

    5. Clearly this man, who had been a genuinely great teacher of things I could no longer be excited by, saw learning as a series of turns.

      This is an interesting proposition/point.

    6. If education can release our energies from what needs to be opposed to what can be imagined, or at least perform some kind of negotiation of that, then perhaps we have an education that is more.

      This would be incredibly beneficial to educators and students alike.

    7. In education, when we challenge an idea, we suggest that there is room for imagining another way of thinking. By doing so in a way that does not overcome the original idea, we don’t expend energy forming opposition, but reserve it for imagining alternatives.

      I am all in favour of this.

    8. I understand this access as the ability to formulate one’s own questions, as opposed to simply answering those that are posed to you in the name of an open and participatory democratic process. After all, it is very clear that those who formulate the questions produce the playing field.

      I'm all for this.

    9. The Tate Modern comes to mind as an example of how a museum can function as an entertainment machine that celebrates “critique lite.”

      I quite like the Tate and it's responsible for stirring an interest in art in me. Is this not to be welcomed?

    10. a move from an emergency to an urgency.

      Hardly the storming of the Winter Palace though is it? Although, that said, I do like the idea of moving away from indulging in neoliberal number crunching and efficiency drives to actually finding the root cause of the problem and acting on it. Some of the root causes of today's "crisis in education" is underfunding and upwards redistributions of wealth which close of avenues for learning to those not from wealthy backgrounds.

    11. The whole point in coming together out of curiosity is to not have to come together out of identity

      Maybe I'm missing something or have missed something, but it sounds like the participants in the Summit did all come together because of identity.

    12. Education is by definition processual—involving a low-key transformative process, it embodies duration and the development of a contested common ground.

      Education is taught and practiced in different ways across different cultures and disciplines. I'm fairly sure this is contestable definition, as well as being quite assertive and culturally loaded as well.

    13. This focus on education provided a way to counter the eternal lament of how bad things are—how bureaucratized, how homogenized, how understaffed and underfunded, how awful the demands of the Bologna Accord are with its homogenizing drives, how sad the loss of local traditions is, etc.

      This is starting to come across as just saying the same things over and over again without much in the way of answers or alternatives on the one hand and taking the reader for granted on the other. Does she want us to join her in wallowing in gloom or feel inspired to go out and make change?

    14. Let’s really politicize education. Let’s make it a principle of actualization that really does touch the institutions of culture—not by producing perfectly trained, efficient, and informed workers for the cultural sector, but by thinking of the cultural sector as a market economy, and bringing the principles of education there to operate as forms of actualization.”

      On my first reading of this, I found this really confusing and quite vague. However a few paragraphs down, she makes the point clearer - which maybe points at a poorly written article?

      In any case, when I read actualisation, I read it as being close to the concept of "self-actualisation" in psychology and philosophy and I think this is close to what Rigoff means here. She later says "Actualisation...which implies that certain meanings and possibilities embedded within objects, situations, actors and spaces carry a potential to be "liberated" as it were". This is a helpful clarification, but is a bit inconvenient that she introduces an important concept for her framework and then does not elaborate on it until several paragraphs later.

      Three paragraphs down from this one, when she says "Academy aimed to develop a counterpoint to the professionalisation, technocratisation and privatization of academies...", I think it's at this point that her talk here about politicising education becomes clearer. I'll put my notes on why I think these two paragraphs are linked in that paragraph.

    15. As such, Academy aimed to develop a counterpoint to the professionalization, technocratization, and privatization of academies that result from the Bologna reforms and to the monitoring and outcome-based culture that characterize higher education in Europe today.

      As I said, when she says "Academy aimed to develop a counterpoint to the professionalisation, technocratisation and privatization of academies...", I think it's at this point that her talk here about politicising education becomes clearer.

      For "professionalisation", I think she is referring to (clumsily since academies literally exist to produce professionals) "perfectly trained, efficient, and informed workers for the cultural sector."

      When she talks about "thinking of the cultural sector as a market economy and bringing the principles of education there to operate as forms of actualisation", I think she means here "liberating" the cultural sector from technocratisation and the drudgery of privatisation. Though, this is maybe still something of an assertion.

      I do think these are interesting points to be raising in an age of austerity and upwards redistributions of wealth on the one hand, on the other, I also think that there is space for a discussion about introducing more democracy into the way academies teach, the way our institutions are organised, where their funding comes from, who calls the shots and what their social impact is - if this is what Rogoff is getting at when he talks about countering technocratisation.

    16. Instead, it aimed at eliciting the unseen and unmarked possibilities that already exist within these spaces—the people who are already working there and who bring together unexpected life experiences and connections, the visitors whose interactions with the place are not gauged, the collection which could be read in a variety of ways far beyond splendid examples of key art-historical moments, the paths outward which extend beyond the museum, the spaces and navigational vectors which are unexpectedly plotted within it.

      This is a really nice and, although she discounted it earlier, quite progressive idea and practice in my opinion. Stopping and taking a moment to take stock is a useful tactic for any institution to be taking, especially public facing ones geared towards education.

    17. its constant commoditization, its over-bureaucratization

      Is she talking here now about privatisation or technocratisation, as he has done already, or when he says commoditifaction, is he talking about the production of and monopolies being created on knowledge?

    18. “What does it mean to own an image?”

      This is a good question. What does one get from owning an image or an idea? Wealth? Prestige? Power? All three? If the question of ownership is casting aspersions such those above, how can we challenge this? If owning an image or an idea grants power, how do we stop this? Do we even want to stop this? Are these questions that should be part of Rogoff's inquiries here?

      That said, his point here about "anointing with cultural status" leaves the ideas of Gramsci ringing in my ear which makes me wonder if Rogoff is unknowingly or deliberately trying to entice us into questions of cultural hegemony that can be gained from owning an image or idea.

      I feel like, while this is a good and thought provoking question, it does raise more questions than it answers at this stage which seems like a bit of a missed opportunity.

    19. There were questions regarding what kind of modes of attention are paid in a context such as a museum or a library. What could these modes of attention be liberated for? Could they be made use of in some other ways? Could they become an instrument of liberation, as in the Inverted Research Tool

      This is a really interesting proposition. In the context of austerity and neoliberalism which has seen libraries cut back or closed altogether - thus a monopoly on knowledge being constructed or brought into sharper focus.

    20. but we were suggesting others born of fleeting, arbitrary conversations between strangers, of convivial loitering and of unexpected lines of flight in and out of the museum as in the Ambulator project

      Widening the scope of who can ask legitimate questions for discussion?

    21. At Van Abbe, we envisaged an exhibition project that brought together five teams of different cultural practitioners who had access to every aspect of the museum’s collection, staff, and activities. Each of these teams pursued a line of inquiry into what we could learn from the museum beyond the objects on display and its educational practices.

      This makes me think of the idea of a "jigsaw classroom" with expert groups.

    22. This sounds quite interesting in the context of austerity, neoliberalism and the way that standards of practice more akin with the financial sector in capitalist society have "trickled-down" through social structures - education and health in particular - under neoliberalism.

      I think his point on professionalisation is a bit clumsy, since academies produce professionals, that's just what they do. However, I wonder if a professionalisation is a synonym for a closed shop? If it is, it would have been interesting to hear more on what Rogoff thinks about this, especially since all indicators since the early 2010s show that it is mostly people from wealthy backgrounds who get into academies and graduate from them as professionals, and then go on to take up positions in those academies and other institutions in the art world, thus, a closed shop.

      I think also that there is space for a discussion about introducing more democracy into the way academies teach, the way our institutions are organised, where their funding comes from, who calls the shots and what their social impact is - if this is what Rogoff is getting at when he talks about countering technocratisation.

    23. “educational turn in curating” address education or curating at precisely the points at which it urgently needs to be shaken up and made uncomfortable?

      This is interesting, because normally when I think of the phrase "turn to something" I usually think of it as being a sea change, a complete break with the past, a reorganisation and/or a new more "uniform" - more comfortable - way of doing things. I don't necessarily think of it in terms of making something uncomfortable.

      On a second reading, it's obvious that when there is a "turn" in something it's usually more of a synonym for radical change or overhaul.

    24. the museum to open a place for people to engage ideas differently

      Is this not exactly what museums do already? I feel like my earlier thought about "made-for-instagram" exhibitions now seems somewhat confused since Rogoff's big reveal is that...museums should carry on doing what they already do.

    25. more progressive

      To many, this would seem like a missed opportunity if, while we are reforming or reimagining our institutions, we aren't talking about making them more progressive.

    26. actualization

      Really not sure on what he means by actualisation here. Is he talking in the same way the Karlholm used it in relation to overcoming the discourse around contemporary art, or, is he talking about it in a similar way that we would talk about "self-actualisation" in psychology or philosophy?

    27. principles of education

      What are these principles he is talking about? Are these principles that exist in the art word? Or principles that exist in a broader sense? Either sense would needs more unpacking.

    28. “What can we learn from the museum?” and referred to a form of learning that could take place beyond that which the museum sets out to show or teach.

      This, quite interestingly, asks the question of what it is a museum is for on the one hand and perhaps even asks if the same lessons that a museum teaches us, can be learned from another medium. I'm thinking here of "Made-for-instagram" exhibitions and virtual galleries.