it mattered not in the least whether it turned out corn-flakes or Cadillacs
impact of machines/tech on human interaction/ inter&intra-personal relationships is of far greater importance than that which they produce
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inst-fs-iad-prod.inscloudgate.net inst-fs-iad-prod.inscloudgate.net
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However, I do have strict rules in terms of appropriation: Idon’t believe in appropriating from the work of other artists or creatives. For me, television was a commercializedindustry, so I was taking from a corporation to try to analyse what was going on.Martine Syms,Borrowed Lady, 2 16, installation view, 'Martine Syms: Grio College' at CCSBard’s Hessel Museum of Art. Courtesy: the artist and CCS Bard; photograph: OlympiaShannon
taking from commercial industry as 'allowable' appropriation --- to reflect on culture is the artist's job, to reflect on that reflection (according to DB) isn't kosher
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Slippage and Misdirection: Dara Birnbaum inConversation With Martine Syms
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By promoting ‘openness’ in terms akin tonegative liberty, the OER movement has overemphasised the removal of barriers asthe principal concern of open education. However, as a result of this focus, there is adistinct lack of consideration for how learning might take place once these obstaclesare overcome.
this tethers back to the findings that 3-10% of MOOCs are actually completed — negative liberty unlocks the door, but how do learners un-learn the pedagogical suppositions of how education and learning function to actually utilize these educational tools?
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Five critiques of the open educational resourcesmovement
5 critiques of OER movement chrome-extension://bjfhmglciegochdpefhhlphglcehbmek/pdfjs/web/viewer.html?file=file%3A%2F%2F%2FUsers%2Fprestontaylor%2FDownloads%2FFive%2520critiques%2520of%2520the%2520open%2520educational%2520resources%2520movement.pdf
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A Brief History of Open EducationalResources
a brief history of OERs chrome-extension://bjfhmglciegochdpefhhlphglcehbmek/pdfjs/web/viewer.html?file=file%3A%2F%2F%2FUsers%2Fprestontaylor%2FDownloads%2FBliss%2520Brief%2520History%2520Open.pdf
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- Oct 2025
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www.roots-routes.org www.roots-routes.org
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This strategic forgetting
memory is political. ,,, to forget is to be guided to forget... that which wants to be remembered (or who wants you to remember) will ensure that which is discordant is forgotten
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not part of the collective memory of the art school, as the students before its rediscovery in the late 1990s, had no awareness of the program.
who writes collective memory/shared histories? they are sculpted, redrawn, erased, or built up through archives, oral stories...
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- Sep 2025
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eastofborneo.org eastofborneo.org
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you were an artist when you walked in the door. We’d break down this relationship of student and teacher. We just had more years on them, that was all, but we fully accepted them as artists, and that helped a lot, too. The teaching didn’t stop when the day was over, class was over, or what have you. Students either would be visiting me or I would be visiting them.
the teaching didn't stop when the day was over /// "you were an artist when you walked in the door"
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Get a grip
lol
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‘Art-writing is an anthology of examples.’MARIA FUSCO, MICHAEL NEWMAN, ADRIAN RIFKIN, AND YVE LOMAX, 201152Williams, G. (2014). How to write about contemporary art. Thames & Hudson, Limited.Created from ed on 2025-09-27 16:02:41.Copyright © 2014. Thames & Hudson, Limited. All rights reserved.
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Unglamorous Tasks:What Can EducationLearn from itsPolitical Traditions?
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“clean”
"i can" <—> "i can't"
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“clean”
"i can" <—> "i can't"
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the very ability to take part in suchuncomfortable discussions—that is, through the processrather than the result—that underpinned the project
meaning making through collective process-based work
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process as a whole runs the risk of a certaininstrumentalization of these young people
whilst somewhat adjacent or off-topic it arises an interesting point — how not to instrumentalize participants
providing scenarios & creating frameworks that inherently support &/or encourage a dismantling of the framework, building opportunities for a "constructivist improvisation" of sorts to allow a collective self-actualization of acceptable "positions"
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performing a paradox inherent within educationalpractice
- performing a paradox *
hierarchy of critique, silencing for sake of argument...
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rafo.K,
look into their practice
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notion of equality at thecenter of the educational process
we learn better when we decenter the padagogue and re-center modes of learning on shared interests or common grounds (above ex: class dynamics, worker exploitation)
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he decided touse his own ignorance as a teaching method
form of paragogy?
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ccs.bard.edu ccs.bard.edu
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the self-organization of art-learning is necessarily limited: it is politically self-selecting and, sociologically, is most likely available only to those who are in the know
potentially presenting a notion that self-organized paragogy / true open learning (democratic, accessible, separate from institutions) has ability to be exclusionary and inaccessible
school/academy as potential point of access (at least in countries that promote access to education) that can either run in tandem with or likely oppose 'politicized' exclusions of self-organized learning
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contemporary or critical art
contemporary/&/critical —/— contemporary/or/critical
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www.e-flux.com www.e-flux.comTurning1
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to one which is not pure preparation, pure resolution
'academy' can't be a site of experimentation/exploration if assuming it as a site of pure resolution&preparation — utilizing(if not encouraging) purposeful failing, being wrong in order to find right...
fallibility being used here to purposefully reframe and remove 'failure' from academic context or framework
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