[mtp-teoria] call for discussion intermedia
dusan
dusan at idealnypartner.sk
Thu Jun 28 18:30:25 CEST 2007
maybe if denisa can refer a bit, it will be interesting for all of us
i guess..
plus this is a link to xgz's comments on art education for
komensky-dot-org:
http://societyofalgorithm.org/komkom/
d
On Thu, June 28, 2007 5:34 pm, Palo Fabuš said:
> Regarding artists and experts cooperation, i am rather thrilled to see
> the results of this "Artists in Labs" project being prepared by Denisa
> Kera. I didn't manage to find any relevant information on the web, but
> a skim googling brought a link to an interesting swiss web:
> http://www.artistsinlabs.ch/english/index.htm
> Maybe this is the way things can work... let us discuss what will come
> up of this then.
>
> And considering an interdisciplinarity, multiplatformity,
> cross-mediality or whatever-hybridity I am not quite sure, whether
> some solution might be succesful in any other way then in facilitating
> the educational process on institutional level and motivating on a
> personal level. In other words: just amplyfing something already
> present. Eg. distribution of open calls to those, who are seeking them
> out. But I have this decent feeling, that those of the more active
> students already know how to get to these information.
>
> cheers,
>
> --
> Palo Fabuš
> palofabus.net
>
> On 6/28/07, dusan <dusan at idealnypartner.sk> wrote:
>> hi
>>
>> hard not to agree..
>>
>> the potential lies also in artistic research, collaborative reading,
>> specialised mailing lists, open space discussions, wikis,
>> consensual creativity, experimental learning, translation and publishing
>> of historical texts SK/CZ<>EN
>>
>> another issue is the continuity of learning in an open framework -
>> non-academic workshops should be organised in collaboration with
>> wide spectrum of academies so that support for students can be
>> facilitated in a longer period,
>>
>> and a role of evaluation in learning process is interesting here too.
>>
>> fruitful collaboration between 'artists' and 'technicians' always
>> have been rare, i am aware only of a few more interesting examples from
>> recent decades, either we had artists in residences in companies
>> (eg. John Whitney in IBM in 60s), or the artists who were banned from
>> using traditional techniques by the regime (sculptor Jozef Jankovic thus
>> meeting computer scientist Imrich Bertok in 70s), community-educated
>> artists coming from technical side (Kluver and EAT since 60s, Murin in
>> 90s)
>> and others who enjoyed both artistic context and experimentation with
>> technology above art/tech specialisation(s). as long as there will be
>> people interested in these things, then both institutional and informal
>> education should support them.
>>
>> tadaa
>> dusan
>>
>>
>> > I don�t know� but let s figure it out together / third
>> grade educational
>> > model on inter-media studies in CR
>> >
>> > This paper is designed to be a conversation. I present it as a loose
>> > collection of simple ideas, unwinding from my personal experience with
>> > lecturing in art schools. The ideas are organized around a several
>> themes:
>> >
>> > Why do we believe that mastering new tools and new technologies brings
>> > empowerment to Arts and Artists?
>> >
>> > or
>> >
>> > Why do we think that mastering new tools and new technologies brings
>> > enforcement to Arts and Artists?
>> >
>> > Can the involvement of new media in culture and education liberate us
>> from
>> > something?
>> >
>> > To what extent are Arts and Digital culture compatible?
>> >
>> > Is there a realistic discussion going on without involving ideology,
>> > personal preferences, or even belief in the dangerous new brave world,
>> or
>> > dawn of techno paradise, where all problems of the mankind will be
>> solved
>> > out by developing of better and stronger apparatus?
>> >
>> > The impact of new media and audiovisual techno-culture on Fine Art is
>> > ubiquitous and is reframing the ongoing discussion among those who
>> welcome
>> > digital culture, and those who have doubts about it. New media and
>> > inter-media are fields where the ambivalence of values and attitudes
>> is
>> > clear to observe, especially in the current system of education. Art
>> > education in the Czech Republic in this art discipline is the main
>> subject
>> > of this text.
>> >
>> > I admit I do not have a very clear proposition of how to improve the
>> > current situation.Too many things I frankly don�t know. I
>> hoped
>> to find
>> > out from more experienced and educated colleagues. Often the lecturer,
>> > suprised by a student�s unexpected question, is afraid to show
>> his
>> > incompetence and say �I don�t know�. But
>> knowledge
>> is not something we
>> > have�it is rather something that emerges during conversation.
>> >
>> > Alongside the expansion of knowledge-carriers and information
>> networks, a
>> > growing number of areas appear which disturb the Holy Authority of the
>> > Teacher.
>> >
>> > The sentence �I don�t know� �perhaps can
>> become a new sign of the
>> > liberation in education in the next decades.
>> >
>> > 10 points to Arts and Technology education
>> >
>> > 1. The systems of the education sector in the Czech Republic - most of
>> the
>> > Art academies, Technical universities and humanity faculties, have
>> very
>> > little in common. The transition between gymnasiums and high schools
>> and
>> > universities is more discontinuous than would be fruitful for
>> students.
>> > Those institutions should supposedly be well-oriented in the different
>> > aspects and layers of the world today, but it often seems not to be
>> the
>> > case. Students can rely on a very limited precedent for mutual
>> interests,
>> > knowledge, shared objectives and goals outside of the area of sport
>> and
>> > entertainment. Students in technical subjects (with some exceptions)
>> are
>> > not taught to be oriented in contemporary culture, literature,
>> theater,
>> > visual arts and music, and the courses in humanities are disappearing
>> from
>> > the technical schools. Art students are exposed to technology and
>> natural
>> > science to a very limited degree, mostly more as users than agents.
>> >
>> > 2. This gap in the infrastructure and lack of cross-disciplinary
>> > discussion in the academic scene is resulting in a low level of
>> artistic
>> > methods, especially in the discipline �new media art�
>> � a type of
>> > professional practice which requires often sophisticated, innovative,
>> > unorthodox concepts of thinking and work conditions to succeed.
>> >
>> > 3. If there is a task for a potential improvement of interdisciplinary
>> > education processes and continuous cross-disciplinary practice or
>> > research, it can be helpful to draw an outline of a virtual
>> independent
>> > platform.
>> >
>> > 4. To a great extent art education is still defined by a turbulent but
>> > rather mild transition period, following the political take-over in
>> 1989;
>> > logically so, through the residue of the tradition and habits of the
>> > earlier decades of the totalitarian system. Most of visual or fine art
>> is
>> > still considered by the majority of universities, schools and teachers
>> as
>> > a subject of practice in design, craft, or in the best case the
>> �free
>> > expression of Artists�. Those concepts are preserved in the
>> academic art
>> > establishment and imprinted on the younger generation.
>> >
>> > The methodology of learning of individual or team research, which has
>> been
>> > an integral part of artistic practice in Europe for several centuries,
>> has
>> > been substituted by art management and PR strategic abilities;
>> learning
>> > how to penetrate art market.
>> >
>> > 5. Education in technical disciplines is in large part carried out as
>> a
>> > short-minded professional traditionalism aiming to study very specific
>> > subject, even gradually adapting to the interests of SW and HW
>> producers
>> > and the business sector. Here students are treated more as a possible
>> > future employee, than a creative and independently thinking
>> individual.
>> > Research is still rather an exclusive section in the academic
>> curriculum.
>> >
>> > 6. An alternative interdisciplinary education model, reflecting the
>> > counter-currents within contemporary policy, science, technology and
>> > culture, should reduce the tendency towards fragmentation and
>> professional
>> > reductionism. Such a model needs to break through the indrawn and
>> > isolationist way of thinking both in the conservative academic and
>> > artistic milieus, where the feeling of exclusion in which experts
>> > �newspeak�, competency to one subject of studies and
>> discredit any lay
>> > knowledge, is still a standard.
>> >
>> > 7. The technical, the social, the esthetic, theoretical and practical
>> > issues within the Czech university education system are taught with a
>> > minimal notion of interference and awareness of coherence of
>> contemporary
>> > knowledge. The subjects, thus the students learn to accept and confirm
>> the
>> > role of the highly specialized expert. We are taught to exist in the
>> > competitive school system, and not taught to act in a conceptual frame
>> of
>> > coexistence, cooperation, dialogue, synergy of disciplines and wide
>> > specter of individual attitudes.
>> >
>> > Those institutional conditions and concepts of thinking block any
>> > challenges, unconventional thoughts and attempts, leading to potential
>> > changes in the subject and in society. This is a conflicting
>> situation,
>> > since the debate is not only about abstract ideas and institutions in
>> art
>> > education, but about the power and positions.
>> >
>> > 8. Interdisciplinary or inter-media education in the Czech Republic,
>> > inspired by foreign schools, or institutions, needs to be established
>> > within the European transnational educational network. The existing
>> > connections and exchanges are, even after 15 years, rare. Many
>> lecturers
>> > of the middle and older generation working in the Czech high art
>> schools
>> > and universities have limited foreign language skills. The
>> consequences of
>> > such a disadvantage, to reflect, re-work information, translate and
>> > distribute them to pupils, contributes to the distrust and uneven
>> > relations between lecturers and students.
>> >
>> > 9. Increasing the number of the sites and modalities of knowledge and
>> > access to information triggers new questions concerning the trust for
>> the
>> > authority of knowledge, producers and control systems, establishing
>> and
>> > confirming the �correct� models. Workshops organized by
>> artist and
>> > independent technicians initiatives, open universities, and civic
>> > educational institutes form a counterbalance to the state
>> establishment.
>> > The non-formal, DiY, non-institutional structures can offer a certain
>> > correcting factor to the state or private education establishment
>> model,
>> > but can never compete with those heavily-funded bodies. Such
>> polarization
>> > is not productive for both sides, and for DiY can be even dangerous.
>> >
>> > We are proposing a model to set up a satellite
>> �floating�
>> laboratory,
>> > related to the university structure, but with some autonomy,
>> non-rigorous
>> > scientific-artistic structure, opened to nontraditional or
>> experimental
>> > DiY methods and elements, which emerged during hands-on practice
>> within
>> > the alternative teaching and learning context in recent years.
>> >
>> > 10. Inside such a hybrid model, based on the concept of cooperation or
>> > coexistence, not on the ideological presumptions, concerning the
>> critique
>> > of alternative or mainstream and that of authority, offers a chance to
>> > reanimate the existing pedagogical system and to implement a critical
>> > approach and interdisciplinary practices. Learning from the
>> > social-cultural non-profit sector can serve as a trigger to move out
>> from
>> > the conservative institutional approach prevailing in the Czech
>> > educational bodies, both in Arts and Technology. Such a hypothetical
>> > platform, related to the loose concepts of �University of
>> Openness� could
>> > inject new spirit into the field of technologically oriented cultural
>> > forms such as new media or inter-media Arts. This cross-disciplinary
>> > approach and platform would involve all types of creative people,
>> > students, researchers, lay-persons, coming from natural science,
>> > humanities, engineering, cybernetics, performing arts, visual arts,
>> sound
>> > and light design, psychology, environmental science, etc.
>> >
>> > concept Milos Vojtechovsky, june 2007
>> > _______________________________________________
>> > mtp-teoria mailing list
>> > mtp-teoria at 13m3.sk
>> > http://13m3.sk/mailman/listinfo/mtp-teoria
>> >
>>
>>
>>
>>
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