- Feb 2022
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culanth.org culanth.org
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a critical hapticality borne of longstanding and transformative commitments to liberatory projects
don't understand
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- Nov 2021
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blogs.ed.ac.uk blogs.ed.ac.uk
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What is your definition of OEP? Who is this process/resource for? How will it be designed with those users in mind and/or a neurodiverse public body in mind? What is your overall aim? How does this method align with your aim?
several important questions
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not what the elite educational institution can do for a universal population in deficit (via OERs), but how the diversity of global participation can change the very idea of the university
Not to change, but to rethink.
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one that must account for the human and non-human relation between the subject and the machine as they co-create the conditions for learning
hard to understand
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this activity risks of progservatism – a roster of socially progressive convictions is tethered to a foundation of managed economic conservatism, as does Andrea Fraser, where critical self-reflexivity in the arts = cultural capital.
Open learning resources can not only help more disadvantaged groups to acquire knowledge, but also become a tool for a few art institutions to make profits, forming cultural capital. This makes us critically think about the significance of open art education at a higher level.
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transversal.at transversal.at
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Therefore, a conceivable new institution of critique would be one that maintains and expands its participation in (semi-) public space, and at the same time creates free unbranded spaces and negates dependencies.
Reducing the number of institutions, expanding the participation of public space and making it easier to control, is a novel solution, but it makes sense after my thinking.
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Curators no longer just invited critical artists, but were themselves changing institutional structures, their hierarchies, and functions.
Attention here! The curator has played a new role in the new institutionalism.
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What do we actually expect from an art institution? What do we want an institution to stand for? What desires does an institution in the art field produce?
The new art institutions have taken on different responsibilities in a new era and we need to rethink these issues from a new perspective in the context of the new institutionalism.
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- Sep 2021
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peeragogy.org peeragogy.org
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THE STUDENT AUTHORED SYLLABUS
This seems like a very innovative concept, one that I had never envisaged before. In China it is more often advocated that the classroom is flipped and given back to the students, but in the end it is often not done properly as the students make the class spontaneous and chaotic, and the teacher neglects to manage the class and makes the pace very loose.
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the US Army’s tech-nique of After Action Review (AAR).
Applying the methods of the US military to education is quite new and fresh to me. Although the two serve different purposes, the strong unity of the military is a great inspiration for education.
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www.e-flux.com www.e-flux.comTurning5
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源于一种信念，即我们所居住的机构可能比它们现在的要多得多， 这些问题问 博物馆、大学、艺术学校， 能够 超越他们 当前功能.
Is academy-style education still fulfilling its primary role in the teaching of contemporary art? With the emergence of more and more 'institutions', we have more options for accessing art education, and we are constantly refining and renewing to go beyond that.
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有一些关于文化差异的问题询问博物馆是否真的是一个代表机构，旨在代表其系统之外的人和特权观众。 如果不是，那么也许那些“局外人”根本就不是在外面，而是可以被识别为已经在这里和我们的一部分，但前提是我们倾听- 真正倾听我们自己的声音，就像在Sounding Difference 中一样
Whether a museum exists as an institution or as a place of educational initiation depends on the purpose for which different people view it. The process of some visitors viewing the artwork becomes part of the museum while listening to the self resonate with the artwork, and whether true museum education will become a punchline experience is something that needs to be asked more deeply
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最后，我想把教育看作是一个舞台
Education nowadays is not only about results, but also about encouraging students to find their own potential in the process of exploration, giving them more opportunities to showcase themselves and encouraging them to think critically rather than having a single answer
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“What can we learn from the museum?”
Museum education is an important element of arts education. And museum education differs from ordinary art courses in that it brings a scenic experience, a reverence for the original work, that is very different from traditional classroom lectures and online resources. What we can learn from museums is a meaningful discussion of value and a subject that cannot be ended.
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Foucault’s notion of “parrhesia”—free, blatant public speech—as perhaps a better model through which to understand some kind of “educational turn” in art.
The term parrhesia is borrowed from the Greek, and Foucault introduced this concept into academic field, believing that parrhesia is extremely courageous and that one must be prepared to take risks when choosing parrhesia. This also reminds me of the concept of panopticism proposed by Foucault. In 1975, Foucault reintroduced the panopticism of Bianchin's "panopticon" in Discipline and Punish, considering it not only an architectural innovation, but also "an event in the history of human thought".
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