Re: [-empyre-] what needs to be done (Skills For Participatory Culture)

[Aliette <aliette@criticalsecret.org>]

Dear Art gallery,


Here can be the very example of a piece outside of its context so cannot
being a philosophy:))

Tout ce dispositif organisé imaginé et proposé par Trébor, (qui heureusement
dans la pratique de iDC est bien plus ouvert à l'altérité qu'il n'y paraît
quand il se met à formaliser...) ne laisse même pas imaginer qu'on puisse
être libre de la pression de l'éducation pendant les moments les plus
intimes...

Je pense que cette citation de Trebor sauf si elle est un morceau
romanesque, devait se situer dans le contexte d'un fil thématique de
contenus déjà discutés, environnement sans lequel ce modèle ne pourrait être
pertinent.

Tel quel, hors contexte, ce modèle installe un cadre et des organigrammes
sans contenus défini, juste présupposés par leur "enveloppe" et leur case :
mais alors nous serions tous d'accord sur les contenus implicites en
ellipse, quelle que soit notre culture nos croyances et nos conceptions de
vivre, nos idées philosophiques - quand j'entends parler d'esthétique des
médias je tombe à la renverse - ce dont je doute y compris dans le même côté
d'inspiration. Contenus qui devraient normalement précéder l'organigramme
pour que l'organigramme soit vital...

A l'âge de la supergravité où l'on construit l'hypothèse de la matière sur
une fiction du boson de Higgs et la topologie mathématique s'occupant
d'espaces non euclidiens dont le champ s'applique en Physique, on se
croirait soudain revenus au tableau de Mendeleief (donc à Aristote).

De quelle éthique s'agit-il ? Sur cette base telle qu'elle nous est
présentée on pourrait aussi bien se trouver dans un cadre d'éducation et de
comportements de laboratoire, que dans la société de Big Brother.

Il y a un vrai problème de la demande et de la réponse, là...


    N'était-ce pas Matisse, d'abord clerc de notaire apprenant tardivement
la peinture dans une académie de village (ou de quartier) qui dit "celui qui
n'imite pas dans sa jeunesse imitera toute sa vie" ? et bien sûr imité
lui-même par la suite:)

Il y a d'autre part dans A rebours de Huysmans une excellente critique de
l'éducation de l'école technique post napoléonienne par le modèle des
jésuites, quand ils imposent le contact direct avec les grandes oeuvres
grecques et latines les plus difficiles, aux adolescents de leurs collèges,
à partir desquelles ensuite ils devisent avec eux pour les passionner, lors
de promenades dans les jardins ou la nature:))

Et puis ne pas oublier la querelle terrible qui divisa les socialistes les
anarchistes et les communistes sur l'éducation et le travail des enfants.

Si l'école n'est pas un ailleurs de la vie contingente alors que peut-elle
apporter à celle-ci ?

Quant à la part du rêve, je ne vois pas où elle se trouve ? Est-ce dans
l'éducation des parents ?


On 16/01/07 22:25, "The Art Gallery of Knoxville"
<art.gallery.knoxville@gmail.com> probably wrote:

> Trebor Scholz <trebor@thing.net> mailed this link to [iDC], I think it
> provides some additional perspective / solutions to the question.
> 
> <http://www.projectnml.org/node/308> :
> -
> 
> WHAT NEEDS TO BE DONE:
> 
> This situation calls for multiple levels of intervention:
> 
> 1. School based -- designed to integrated into existing school disciplines
> 
> 2. after-school programs -- designed to expand creative opportunities
> for kids in a way which also emphasizes the cultural context and
> ethical consequences of those practices.
> 
> 3. informal learning -- collaboration with creative industries to
> insure that ideas about media literacy feed back into popular culture.
> 
> 4. teacher training -- designed to provide teachers with models for
> classroom practices which foster the new media literacies.
> 
> 5. parents training -- designed to give parents the knowledge and
> skills they need to foster media literacy in preschool children and to
> support the informal learning of their school aged offspring.
> 
> We are proposing an integrated approach which works at four levels:
> 
> Exercises (E1) -- designed to refine and rehearse preliminary literacy skills.
> 
> Exemplers (E2)-- designed to illustrate creative processes and
> practices and provide a critical vocabulary for the aesthetic
> evaluation of media.
> 
> Expressions (E3) -- designed to allow kids to put these skills into
> play through individual and collaborative creative projects.
> 
> Ethics (E4) -- designed to encourage reflections on the social
> contexts in which media is produced and circulated, including a strong
> focus on the ways individuals relate to larger communities and the
> ability to make meaningful choices and weigh their consequences.
> 
> We can understand this more fully if we look at a specific subject
> area: digital storytelling.
> 
> Basic Pedagogical Goals:
> 
> 1. A recognition of the ways stories change as they move across media
> (multimodal, convergent) and an appreciation of new kinds of
> storytelling media (mobile, immersive, interactive) which may deal
> with stories in different ways.
> 
> 2. A recognition of the basic building blocks of canonical stories,
> including questions of sequencing, exposition, and point of view, as
> well as an awareness of the ways that these basic principles can be
> manipulated to create alternative storytelling practices.
> (transformative)
> 
> 3. An appreciation of the functions stories play within cultures,
> including the value of stories for entertainment, transmitting
> traditions, opening up new possibilities and alternative perspectives,
> etc. (generational)
> 
> 4. An appreciation of cultural differences in the form and content of
> stories (multicultural, global).
> 
> 5. An awareness of the role which stereotypes and clichs play in the
> construction of stories as well as the impact that such devices can
> have on the ways we interact with other people. (negotiation)
> 
> 6. the ability to identify core elements of stories and rework them to
> communicate alternative perspectives (appropriative).
> 
> 7. a recognition of those factors shaping which stories get told in the media
> and how those stories get structured.
> 
> 8. an understanding of how story elements can be dispersed across
> multiple media channels in order to create a range of different
> experiences. (Convergent)
> (synthesis)
> 
> 9. practice in translating one?s own experiences into stories which
> can be understood by others both in your own community and
> beyond.(expression, performance)
> 
> 10. refine technical skills in media production as well as developing
> criteria for evaluating stories within different media contexts.
> (Judgment)
> 
> 11. recognize that people in different communities might narrate the
> same experiences in different terms or might form conflicting
> interpretations of shared stories (negotiation)
> 
> 12. understand the ways that authors build upon pre-existing stories
> as well as recognize the current legal conflicts over who should
> control what use gets made of one's creative work. (sampling)
> 
> Our overall approach emphasizes comparison across different media,
> across different historical periods, across high and popular culture,
> across mainstream and experimental media, and across different
> cultural traditions. Any opening session needs to emphasize the
> diversity of current storytelling media with an emphasis on both
> commonalities and differences.
> 
> At the same time, this approach is designed to bring together
> literature, art, and social sciences so that people understand what
> stories are, how to express one's ideas through stories, and how
> stories operate within cultures.
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>