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NEW-MEDIA-CURATING  May 2010

NEW-MEDIA-CURATING May 2010

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Subject:

Re: re-turn

From:

Charlotte Frost <[log in to unmask]>

Reply-To:

Charlotte Frost <[log in to unmask]>

Date:

Sun, 16 May 2010 21:20:17 +0100

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Verina, your point below has got me thinking:

_I was thinking about the issue of what is inherent to learning? Is
there not also a thinking about a future, or speculation? If our focus
is directed on to these forms of the educational, to what degree are we
also proposing to think 'the future'. 
"Imaginary schools"

I mean, yes, of course it has this future element but when you put it in
those terms it makes me think how people often skew their ideas on what to
teach towards the past. I'm thinking here of the resistance regularly put up
towards new subjects coming in in schools or people insisting that standards
in schools are slipping. I'm wondering to what extent those judgements are
made as a result of the idea that past educational systems offer a
better/more rounded knowledge when an older curriculum couldn't possibly
give students all they need to be 'successful' (in whatever sense of the
word you choose) now and going forward.... I guess this is an obvious point,
but it opens a can of worms if you start to consider how on earth to get the
balance right and if it is precisely the task of getting this balance that
makes online systems, for example, particularly interesting. Again, what I'm
thinking about is the give and take that is needed to set the parameters for
what is relevant at present and what will be relevant in the future...

In this respect, a project that really interests me is Access Space
(http://www.access-space.org). This is because participants in the free
media lab design their own engagement by getting stuck in and learning what
they need as they go, rather than having things suggested to them. And then,
as they build their own knowledge, the onus is on them to feed this back to
others when relevant. Of course, this is an art-led project, so this example
links back to questions about the extent to which this learny/teachy turn is
somehow embedded in an art practice/presentation culture. But another
element that makes it of interest is that it seems to be forward-looking, in
terms of people building their learning experience around what is
immediately relevant to them, but the physical tech being used is seldom
cutting-edge, as the lab uses all old/recycled computers etc, which gives it
a backward-looking element to. What I mean by that is it doesn't place a
premium on having the latest technology, it shows the value in existing
tools, but rather places a premium instead, on the freedom to share
knowledge.

-----Original Message-----
From: Curating digital art - www.crumbweb.org
[mailto:[log in to unmask]] On Behalf Of Verina Gfader
Sent: 14 May 2010 09:48
To: [log in to unmask]
Subject: Re: re-turn

Dear all

Thank you for the great posts on Educational Turns, and Distributed
Social Systems so far. 

It seems rather difficult and a challenge to lay-out and arrange or
'control' the lines of thought -- as Edgar proposed, there is perhaps a
need or claim to create or look for setting up systems that re-frame a
current debate, that shift parameters and by doing so unsettle the ways
we deal with power structures or models of dominance. ? 

When suggesting and scripting the current theme of the month and its
potential agents, immediately, there was a certain discomfort, a doubt,
using terms such the representation of teaching/learning, educational
technology, or placing new media outside of curatorial contexts.  These
terms in themselves are so contested, they are so much at stake in
today's talking about art, talking on art. The urgency of addressing
particular issues foregrounds certain aspects, and neglects others, puts
others in the background, or to the side. But it might be precisely that
in this 'overexposed' site where those terms are so evident, certain
thoughts or themes persist as obligatory and important. In a way, these
dominant thoughts or themes (on the cultural surface) resist erasure by
being re-written, un-written and over-written. Thus, they can take new
paths and detours - and also bring new by-products, and potentially
oppositional, marginal thoughts.
The process I engage in here addresses an accumulation of knowledges,
and in relation to accumulating knowledge - through making work,
writing, performing, through a practice -, one can here perhaps refer to
what Irit Rogoff in her text Unbounded describes as a terrain, or
territory where "knowledge erupts".  She understands this eruption in
relation to "knowledges that daily refuse to remain in a contained
relation to their origins". There is a proliferation involved where
knowledge can only emerge and remain in a transformative state. 


There are a few, rather hastily notes/questions that I would like to
bring up that emerged in response to the proliferating posts. 
_I was thinking about the issue of what is inherent to learning? Is
there not also a thinking about a future, or speculation? If our focus
is directed on to these forms of the educational, to what degree are we
also proposing to think 'the future'. 
"Imaginary schools"
_Artists working in/practising 'the educational'. If the economy pushes
artists to work educationally (referring here to both, questions of
income, but also status of research) - in what way does it also shift
how we work as artists? 
_If performing the educational and exhibition contexts, and focusing on
the potential of the momentary - Dorothee "...but allows also to react
in a temporary situation" - are passive states also desired, of value,
possible, and to a certain degree a form of agency? 
_Is curating a performance? Or an acting out of a constellation, system?
_How to provoke? Is this a relevant question? 
_Maintaining temporary projects? Maria mentioned Deptford.TV, and that
"Their short life might be because they die away, or because they become
institutionalised as a result of their grass roots success (which
entails death..)." 
Ruth talked about the 3-week artschool and that it's "momentum [is] hard
to sustain outside such temporal structures."



Complex issues. 


For now

Verina
www.crumbweb.org

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