http://cargocollective.com/prijemnejedno/
Publication serves as a reflection of the „Athens: Cooperation, Education, Critique“ project created by the Studio without Master initiative (Prague, Czech Republic). Education or rather, information exchange, is usually based on hierarchical relationship: one person speaks and the others listen. Distribution of knowledge or authority is determined by the structure and the institution, and so any experimental tendencies in schools are suppressed by the commercialization of knowledge. The idea of ventriloquism is understood as a critical metaphor of this practice, where the voice, the relation between the voice and the body and the relation between the speaker and the listener, are questioned. The model of “representative democracy” occurs not only in the Teacher-Student relationship, but also in the relationship between the citizen and the state. The publication—its form as well as itscontent—is made collectively, based on a consensual agreement, reflecting our interest in self-organizational education, its possibilities, functioning and dysfunctioning both from within the collective and from theoretical point of view, with relation to themetaphor of a belly-talker, or gastromant, who is able to throw voices, dislocate them from the centre, multiply them and listen from the midst of their polyphony.
Un_Universität / Un_University TransArts platform on forms of teaching and learning Ricarda Denzer and Jo Schmeiser During the two-day Un_University platform we want to discuss forms of teaching and learning, both within and beyond (art) universities, with reference to the concept of anarchitecture. 1 How do academic knowledge transfer formats, such as seminars or lectures, shape what is being taught? How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? As an inter- and transdisciplinary “class”, TransArts2 is well-suited to such a de_constructive focus on aesthetics of knowledge and their socio-political significance. Students and teachers work with a broad range of materials, media and genres. They work across classical borders between disciplines and methods, criticizing and re_defining them, creating hybrids and inventing new artistic formats, such as the post-Internet demonstration or the lecture performance. At Vienna’s University of Applied Arts, TransArts has a unique structure: wherever possible, teachers and students have equal status and critical engagement with hierarchic teaching formats is fostered. The “class” is led by a team; a degree of student participation is anchored in the curriculum; and parts of the course are shaped collectively. What takes place in the “class”, then, is collective listening – on the level of structures, of teaching models, and of artistic methods: speaking, reading, language and text become objects and media of (audio) visual engagement. The underscore in the platform’s title – Un_University – expresses a critical oscillation between negation and affirmation. We want to use artistic means to reflect on teaching at (art) universities. We want to discuss forms of un_university thinking, speaking, listening and reading, as well as inventing new ones. And we want to examine both academic and non-academic contexts and institutions to see which current forms of critical knowledge production they facilitate and/or prevent. The platform will begin by asking the following questions: What is an (art) university? What is it not? What part does the (art) university play in society today? Where and when do we study? Who is “we”? Who has access to the (art) university? And who does not? What is taught at (art) universities? What can be learned on the margins of society? How can an (art) university contribute to the recognition of marginalized knowledge production and the contexts where it takes place? Which knowledge must be unlearned and untaught if we are to have an egalitarian society in which all people – regardless of origin, gender, social stratum or historical background – have the same right to free access to knowledge, education and the expansion of society’s reservoir of knowledge via one’s own (artistic) research? Which form(s) does studying take? How is knowledge embodied? 1 “Based in New York in the 1970s, Anarchitecture was an artists’ group whose members included artists Laurie Anderson, Tina Girouard, Carol Goodden, Suzanne Harris, Jene Highstein, Bernard Kirschenbaun, Richard Landry, and Richard Nonas, as well as the architecturally trained artist, Gordon Matta Clark (1943-1978). Their name, a mixture of ‘anarchy’ and ‘architecture’, was conceived in informal conversation, one of the main ways through which the group collaborated.”
Jaké formy vzdoru mohou přežít /uvnitř akademie a ve veřejném prostoru/ v globálním neoliberálním kapitalismu?
