Tag Archives: OER

JEDER MENSCH EIN KÜNSTLER

This year’s Art & Open Learning Fair builds upon Georg Hardenberg / Novalis / Joseph Beuys’ 1978 provocation: JEDER MENSCH EIN KÜNSTLER. The Fair is a process that has emerged from the open educational resource (OER) produced by Neil Mulholland, Emma Balkind, Jake Watts and Beth Dynowski. The OER is accessible here via this blog: blogs.ed.ac.uk/artandlearning/courseware-contemporary-art-open-learning/


Monday 23rd November 2020> The Mind’s Eye 🟡 Yellow Basho //// Runs from Monday 23rd November 2020 asynchronous


Wednesday 25th November 2020 Treasure Hunt 🟣 Purple Basho //// 9:30am-12:30pm GMT for live activities


Wednesday 25th November 2020 How to Become an Artist 🟢 Green Basho //// 1:30pm-4:30pm GMT for live activities


Thursday 26th November 2020 MENU: Being an Artist 🔴 Red Basho //// 1:30pm-4:30pm GMT for live activities


Can anyone be an artist?

Edinburgh College of Art (ECA) is directly implicated in this provocation which arose from Beuys’ Edinburgh Poorhouse projects (e.g. Black and White Oil Conference, 1974), the Free International University for Creativity and Interdisciplinary Research and his work with the prisoner Jimmy Boyle (1980-); a heritage presently continued by the Edinburgh branch of the Ragged University.

Students on the MFA Contemporary Art Practice & MA Contemporary Art Theory in the School of Art, ECA have provided their own responses this particular provocation, working in four groups comprised of artists, curators, researchers and paragogues.

Open? Fair?

What might it take to transform that last bastion of mercantile capitalism, the art fair, into an open educational resource? Considering the long history of fairs against our present-day pivot culture, how might they openly support peer-production and participation rather than reproduce proprietorial consumption? In ‘Open Access and Para-Academic Practice‘ tripleC 11((2)) 2013: 614-619, Paul Boshears calls on researchers to engage in the open creation of research objects (artworks, programmes of study, events, etc.)

Boshears argues that, to be genuinely open, research should be focused less on  research objects and more on the new ‘publics that result from the circulation of these objects’. (Boshears 2013: 617) Thinking about what sort of publics we might engage (or generate) through the production of open research objects is an ambitious challenge, one that our masters of contemporary art have risen to meet. They do so during a pandemic that has brought the arts to a virtual standstill.

Based in Edinburgh and across China, the School of Art’s postgraduates have imagined a variety of blended  approaches to art and learning that are responsive to our volatile world. The pivots herein are not simply skeuomorphic translations from meatspace to massified, open online courseware, (i.e. MOOCs); they represent a wide range of blended and augmented sites; art-as-education-as-art equipped to work within the full range of Scotland’s four tier Covid-19 protection levels.

Rather than create virtual projects aimed at a faceless mass of placeless lurkers, paragogues have peer-produced participatory workshops for each other. Working together in four small basho (Red, Green, Purple, Yellow) they have created an intimate, reciprocal programme of artistic learning that is, nevertheless, scaleable.

The four projects produced by each basho blend curatorial tools, re-imagine event-places and devise artistic practices for multiple scenarios. The JEDER MENSCH EIN KÜNSTLER fair is a work in progress, a chance to playtest the range of practices offered by the members of each basho. Anyone is welcome to browse through and participate in any of the asynchronous projects and workshops.

CC BY-SA

Neil Mulholland JEDER MENSCH EIN KÜNSTLER is licensed under a Creative Commons Attribution-ShareAlike 4.0 International license. November 2020

Contemporary Art & Open Learning

Introduction to Contemporary Art & Open Learning

The Rules of the Game

Learning/Experiments

Collaborative Inquiry

What are the learning resources?

What are workshops?

What is a Crit?

OERs and Paywalls

Stand-up

#studywithme

Edutech Tooooooooools

Week 1 | Marginalia on the Educational Turn

Week 1 | Assignment-1-Build-A-Basho™️

Week 2 | Open Learning, OERs, Open Access | Learning Module

Week 2 | Para-Academic

Week 2 | Art Assignment #2: Learning to Learn

Week 2 | What is the Open Paradigm?

Week 2 | Should all education be Open Education?

Week 3 | Paragogy | What’s happening?

Week 3 | What is Paragogy?

Week 3 | (De)Codifying Tacit Knowledge

Week 3 | Jake Watts on Paragogy

Week 3 | Art Assignment #3: Make Gold

Shift/Work: Groundcourse | Roy Ascott

original

 

The Groundcourse is a two year foundation led by Roy Ascott at Ealing (1961-64), Ipswich School of Art (1964-67) and currently at Beijing DeTao Masters Academy in Shanghai.

Groundcourse is a seminal educational experiment that is a key influence on Shift/Work. Prof Ascott will discuss Groundcourse before running a short exercise from it. This is a unique opportunity to experience the legandary Groundcourse at first hand.

Schedule:

1. Discussion of full Groundcourse programme, the theory behind it, and plenty examples of student outputs, both way back in Ealing/Ipswich and currently at De Tao.

Then comes the practice:

2. Each individual student will design and construct a machine that can calibrate changes in one’s individual environment and in one’s behaviour, producing for each user a severely limited repertoire of actions.

3. Organisms are identified, each consisting of five “calibrated” students , recognising their mutual dependancy in enabling the organism’s ability to produce  thought and action.

4. Each organism then to design and build an environmentally-situated  performative game.

5. Presentation: enactment of each organism’s game.

6. Organisms discuss their critical reflection of the process.

Professor Roy Ascott, Ars Electronica Golden Nica award winner, works with cybernetics and telematics on cybernetic art, focusing on the impact of digital and telecommunications networks on consciousness. He is President of the Planetary Collegium, and DeTao Master of Technoetic Arts at the Beijing DeTao Masters Academy in Shanghai. He is the founding editor of the research journal Technoetic Arts, an honorary editor of Leonardo Journal, and author of such the books as Telematic Embrace: Visionary Theories of Art, Technology and Consciousness.

Prof Ascott’s full biography can be reviewed here:

https://www.plymouth.ac.uk/staff/roy-ascott and here

https://en.wikipedia.org/wiki/Roy_Ascott