deschooling.classroom(o^o)

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collective self-education in the arts and culture…

Prezentacija – performans: NAME RADYMADE :: Janez Janša

On occasion of the publication of his 2 books [The Ignorant Schoolmaster, this Poetics of Knowledge] Jacques Rancière visited Serbia, ascariasis Croatia and Slovenia from March 29 to April 04, erectile 2010. In Belgrade, Zagreb, Rijeka and Ljubljana Rancière held 3 lectures and several discussions.

Participants of the Deschooling Classroom project had opportunity to meet and discuss with the famous French philosopher about his lecture in Belgrade, and also about his critical ideas from the  book The Ignorant Schoolmaster, which is one of the tree most important references for this project.

Here you can find an audio documentation of the Rancière’s discussion with the Deschooling Classroom participants:

Here you can find an audio documentation of the Rancière’s Belgrade lecture The Method of Equality: Politics and Poetics:

http://boo.mi2.hr/~pietro/Method_of_Equality.mp3

For more info about the philosopher, his books and the events in Belgrade, Zagreb, Rijeka and Ljubljana, visit:

http://ranciere.mi2.hr/

http://www.edicijajugoslavija.net

TkH PLATFORMA

U okviru projekta Raskolovano znanje(o^o)*

VAS POZIVA NA

Prezentaciju – performans: NAME RADYMADE

Janeza Janše

utorak, tadalafil 20.april 2010, 20:00 / Magacin u Kraljevića Marka 4

Šta je lično ime? Koja je njegova uloga u društvu? Koliko je lično ime zaista lično ako uglavnom ima javnu funkciju? Šta se dešava kada je lično ime neke javne ličnosti iznenada umnoženo i počinje da se pojavljuje lokalno i internacionalno u kontekstu koji nije njegov originalni? Šta lično ime znači u smislu brenda u savremenom neo-liberalnom društvu? Šta za javnu ličnost znači kada odbaci svoj etabliarani brend i nastavi karijeru pod sasvim novim imenom?

Projekat NAME izveden je 2007. godine, da bi 2008. godine bila realizovana izložba NAME Readymade i izdata knjiga. Radi se o projektu tri slovenačka umetnika koji su zvaničnom procedurom promenili svoja imena u Janez Janša, ime tadašnjeg konzervativnog, ekonomski liberalno orijentisanog premijera Slovenije. Od tada se autori dosledno predstavljaju novim imenom u svim administrativnim poslovima i umetničkom delovanju. Ovim radom Janezi Janše pokušavaju da intervenišu u sam centar sopstvenih realnosti i realnosti konteksta u kome žive i rade, koristeći procedure tipične za savremenu umetničku praksu – transformaciju, prevod, reprezentaciju i mimikriju. Autori radom NAME preokreću klasičnu dvadesetovekovnu relaciju između života i umetnosti: od umetnosti kao životu ka životu kao umetnosti.

Tokom događaja u Beogradu, Janez Janša će provesti publiku kroz seriju umetničkih, političkih, administrativnih i medijskih akcija, sa fokusom na izložbu NAME Radymade. Izloženi radovi (lične karte, pasoši, bankovne kartice, izvodi iz matičnih knjiga itd) deo su same realnosti njihovih života, koji dobija status umetničkih artefakata.

Name – Readymade + Winter im Herbst from autokolor on Vimeo.

NAME Readymade projekat je realizovan u produkciji Aksiome – instituta za savremenu umetnost iz Ljubljane i festivala Steirischerherbst iz Graca, u saradnji sa časopisom Maska i Modernom galerijom iz Ljubljane.

Realizacija događaja u organizaciji TkH je podržana od strane Ministarstva kulture Republike Slovenije, Grada Ljubljane, Ministarstva kulture Republike Srbije i Švajcarskog programa za kulturu za zapadni Balkan.

Više o projektu: http://www.aksioma.org/name/index.html

*RASKOLOVANO.ZNANJE(O^O) je projekat kolektivnog samoobrazovanja koji se obraća savremenim nezavisnim kulturnim scenama u regionu, sa ciljem da istrazuje i promovise alternative tradicionalnom hijerarhijskom modelu obrazovanja. U pogledu metodologije, projekat problematizuje koncepte individualnog autorstva i ekspertize i zalaze se za otvorene kolektivne (samo)obrazovne strukture u kojima samoorganizovane zajednice obezbeđuju horizontalnu produkciju, razmenu i distribuciju znanja.

http://www.deschoolingclassroom.tkh-generator.net/

http://www.facebook.com/group.php?gid=78283563826&ref=n

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Post-pedagogy :: Miško Šuvaković

The term ‘post-pedagogy’ was coined by American ‘Derridean’ theoretician Gregory L. Ulmer referring to the concept of ’scene of writing’ of Jacques Derrida.[1] In Ulmer’s book Applied Grammatology ‘post-pedagogy’ has been applied to the completely different authors such as the psychoanalyst Jacques Lacan, caries sculptor and performance artist Joseph Beuys, film director Sergei Eisenstein, and theatre director Antonin Artaud. For Ulmer the term post(e)-pedagogy indicates a move beyond conventional pedagogy in order to establish pedagogy in the era of electronic media.

I will assign several different possibilities to the concept of post-pedagogy:

(1) opening-up of the traditional pedagogic process (process of transmission of ‘ideas’ /knowledge/ from the teacher to the student) towards research or behavioural work of equal collaborators that learn from each other[2];

(2) anarchistic destruction of the cannons, rules, criteria, and laws of pedagogy, by performing pedagogical situation as luddism and emancipating act of creation[3];

(3) annulation (destruction, deconstruction, relativisation, decentralisation) of one’s own status of ‘teacher as the proprietor of knowledge’[4];

(4) establishing theoretical or pedagogical lecture as open, nomadic, and interactive artwork[5];

(5) execution of theoretical, auto-poetical, or pedagogical lecture as an event that can not be precisely identified as a lecture in theoretical sense, as an artwork (meta-representation), or as a sort of promotional workshop[6];

(6) establishing  the act of theoretical delivery as a stage event, or in the mode of a stage event, with elaborating special rhetorical-verbal, behavioural, and media examples, or articulations-and-attractions of lecture or instruction[7];

(7) situating the act of theoretical delivery in the system of media reproductive communication (radio, television, LP records, CDs)[8];

(8) execution of theoretical act of delivery in the system of interactive electronic media (computer network or multimedia and VR)[9] – with the possibility of reply from the listener and his/her intervention in the frame of proposed lecturer’s themes and explications;

(9) establishing any artistic practice as the basic model (body) by which representation, proxy, demonstration, or signifying performance (testing) of theoretical propositions and possibilities is executed.[10]

What is important for understanding post-pedagogy is that the term ‘pedagogy’ is redefined (transformed, transfigured) as ‘productive practice of performance’ on a real or fictional ’stage’ (screen). Pedagogical act is not transmission of a ‘crystallised knowledge’ from one subject (subject-master of knowledge) to the other (subject-without knowledge), but a set-up of possibilities for different individuals to construct themselves as subjects of knowledge in a conceptually demonstrative manner, by the means of theoretical, artistic or cultural-media material apparatuses. Those are actually dynamic interactive epistemologies or theory at work.


[1] Gregory L. Ulmer (1987), Applied Grammatology; Post(e)-pedagogy from Jacques Lacan to Joseph Beuys, Baltimore and London: Johns Hopkinks University Press

[2] That process of studying through research was elaborated in the Art&Language group in the early 70es. For example, Therry Atkinson and Michel Baldwin define it with a following scheme: “Searched by the index of = def. A-L(x)(if x is a member of A-L then (($y) x learns a from y and x ¹ y))”.

[3] John Cage used it in his university lectures. One of his post-pedagogical gestures is giving the highest mark ‘A’ at the beginning of the course, without assesing the knowledge that is usually done at the end of the course.

[4] For example, Tzvetan Todorov speaks of late Roland Barthes as a ‘thinker’ and ‘writer’ who overturns the discourse of the teacher. He says that Barthes’ books are not deliveries of ideas, but verbal gestures (action writing).

[5] For example, lectures of Joseph Beuys executed as an art event (performance, happening, action).

[6] For example, lectures of Robert Wilson held as some kind of pedagogical or theoretical performance, thematising and interpreting his own theatre poetics.

[7] This sort of lecture practice was utilised by many. In modern history, we could refer to lectures by Martin Heidegger or Ludwig Wittgenstein, subject of many anecdotes. For example, Heidegger’s singing, or Wittgenstein’s laying on the floor of the classroom while he lectures. But the notion of conceptualy aimed theatralisation of lectural-pedagogical act can be found in Lacan’s lectures on mathemes or his TV performance and lecture he held for the medium of television about television. We can also mention, for example, lectures of philosopher Jacques Derrida, philosopher Peter Sloterdijk, theoretician of culture Boris Groys, etc.

[8] Many examples could be mentioned from John Cage to Lacan, Derrida or Slavoj Žižek.

[9] The examples are different and there are many net-artists or theoreticians whose work communicates through pedagogical modes by means of www (for example critical art ensemble).

[10] The example are theoretical-theatrical or theoretical performances of the group TkH – Teorija Koja Hoda (Walking Theory). TkH worked with theoretical constructions that were realised through public performance in order to show the body of theory.

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