Thorne, Sam (Frieze Magazine) - New Art Schools
Transcript of Thorne, Sam (Frieze Magazine) - New Art Schools
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New SchoolsA survey of recently founded artist-run art academies and
education programmes, with contributions from: The Silent
University, The School of Global Art, The External Program,
MASS Alexandria, SOMA and Islington Mill Art Academy
What would an art school fit for the 21st century look like?
Its become common to note that the last decade has seen a
rise in pedagogic projects initiated by artists and curators. As
Claire Bishop, among others, has argued, the cancellation in
2006 of Manifesta 6 a failed attempt to set up an art school
in Cyprus, and its afterlife as a series of seminars in Berlin could be seen as the moment when this so-called educational
turn became more pronounced. In the intervening years,
countless self-organized night schools, free-to-attend lecture
programmes and artist-run art academies have sprung up
around the world. The reasons for this, though complex and
interrelated, are frequently attributed to escalating tuition
fees, cuts to university budgets, the creeping
neoliberalization of education at large, frustration with
overstretched tutors or inadequate teaching, not to mention a
lack of academies in a given region.
There are, of course, important precedents for such projects,not least the activities of artists including Joseph Beuys, Luis
Camnitzer, Lygia Clark and Tim Rollins, all of whom made
pedagogy a central part of their work. This past decade,
artist-led projects have taken forms as various as Khaled
Hourani and Tina Sherwells International Academy of Art
Palestine in Ramallah (2005ongoing), Henriette Heise and
Jakob Jakobsens Copenhagen Free University (200107)
and Tania Brugueras Ctedra Arte de Conducta (Behaviour
Art School, 200209) in Havana. In a more established art
centre, like Los Angeles, a constellation of initiatives has
emerged, such as Machine Project (2003ongoing), Fritz
Haegs Sundown Salons (200106), and Piero Golia andEric Wesleys The Mountain School of Arts (2005ongoing).
Other schools are roving (like Pablo Helgueras School of
Panamerican Unrest, 2003ongoing), studio-bound (such as
Lia Perjovschis Centre for Art Analysis, in Bucharest) or, like
Parallel School of Art or Gerald Raunigs European Institute
for Progressive Cultural Policies, exclusively online. As is
clear from the names, one common thread is the claiming of
institutional status (Gregory Sholette has used the terms
mockstitutions and phantom establishments), even though
they remain, for the most part, unaffiliated with any
traditional institution. Whats obvious is that many are eager
for an art school today to be self-determined, flexible,
About this articlePublished on 01/09/12BySam Thorne
SOMA, Mexico City, 2012
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small-scale and cheap or free to attend. This summer, the
tendency found a temporary institutional home at Londons
Hayward Gallery with Wide Open School, a month-long
experiment in public learning involving more than 100
artists.
I invited representatives from three artist-led education
programmes, each of which was or will be launched this year,to contribute case studies about their projects: Los
Angeles-based Sean Dockray, co-founder of The Public
School and Telic Arts Exchange, discusses the background for
The External Program, an online learning network based on a
Victorian correspondence course; the Turkish artist Ahmet
t introduces The Silent University, a multi-lingual,
nomadic institution organized by asylum seekers and
political refugees; and the London-based artist collective
LuckyPDF interview students from their School of Global Art,
a peer-2-peer meshwork of learning, about debt and
intellectual property. Additionally, I asked the founders of
three artist-run art schools SOMA in Mexico City, massAlexandria, Egypt, and Islington Mill Art Academy in Salford,
UK to sketch out their influences and aims, as well as the
competing ideologies and practicalities at play in the
day-to-day running of a school.
Several shared preoccupations emerge: What are the
possibilities of and limits to self-organized education? Who
owns art education in what Tom Holert has called the
knowledge-based polis? What can be borrowed from
traditional academies, and what should be jettisoned? And
whats actually at stake with this self-institutionalizing
impulse? In a 2009 lecture titled The Academy is Back,Dieter Lesage argued that: The art academy is going to be the
defining innovative institution within the art field in the next
20 years, much more so than museums, galleries, biennials,
whatever. So, if we take this to be the case, what are the
responses being developed by artists today?
The External Program, Los Angeles
Sean Dockray
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An artist based in Los Angeles, USA. He is the co-founder of
The Public School, Telic Arts Exchange and The External
Program, an online education project due to be launched
this autumn.
In 1858, a message from Queen Victoria to us President
James Buchanan was the first official telegraph to cross acable laid under the Atlantic; it was a message applauding its
own transmission. Within decades, a worldwide system of
cables was woven beneath the oceans, connecting a quarter of
the earths landmass the British Empire was at its pinnacle.
Queen Victoria launched another imperialist project in 1858
when she chartered the University of Londons External
Programme, the earliest correspondence learning institution
in the world.
Like contemporary online education initiatives such as mit
and Harvards partnership, edX the External Programme
was invested with the promise of levelling social andeconomic hierarchies. Charles Dickens characterized it as the
Peoples University, extending her hand to the young
shoemaker who studies in his garret. What the institution
offered were study materials and a degree from London,
regardless of where one lived, contingent on passing an
examination based on those standards established in the
English capital.
Today, edX has become a model in spite of the fact that it
has only offered one class, Circuits and Electronics for the
adoption of online education into many universities business
plans. A recent Wall Street Journal article on massive onlinecourses noted that: The substitution of technology (which is
cheap) for labour (which is expensive) can vastly increase
access to an elite-calibre education. Based on this logic, the
University of Virginia fired its president in June for being
sceptical about moving online too quickly; board members
said they needed a leader who embraced strategic dynamism
rather than strategic planning. In this dynamic educational
landscape, the faculty is unbundled into a package of
services curriculum writing, instruction, advising,
examination and assessment that are provided by licensed
content, inexpensive adjunct faculty or graduate students and
private contractors. If the university has been the lastinstitutional bastion for the Left, that position is being
absolutely eliminated by this neoliberal restructuring of
education unsurprisingly under the banner of increased
access.
Perhaps there is a parallel here to Marxs double freedom,
whereby we are free to sell our labour and we are free from
any control over the means of production. Our free access
comes with institutions that are increasingly inaccessible,
dominated by an unproductive administrative class, whose
primary activity involves firing people and establishing
lucrative intellectual property arrangements. Look at one ofthe massive open online courses (moocs, as they are known)
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with one teacher to 100,000 students (competing for
visibility and grading each others work for free) to see the
establishment of solid pyramidal structures, managed for
profit by businessmen, lawyers and technicians.
A few years ago, the University of London decided that the
name External Programme sounded out of date, and so it
was changed to the International Programme. This was afortunate event for us at The Public School because it gave us
a readymade name for our own new online learning project
the External Program, abbreviated as exP. The Public School
was initiated in Los Angeles in 2007 as a school with no
curriculum, which simply meant that the classes offered
would not come from an institutional mission or disciplinary
parameters, but from an open process where anyone could
propose something that they wanted to learn about or teach.
It was an engine for bringing small groups of people together,
face-to-face.
In the past, The Public School has not only resisted movinginto online education, some reasons for which are implicit in
this essay, but has conceived of itself as an inversion of that
very form. Rather than using the Internet to eliminate the
classroom by broadcasting teaching outwards, The Public
School uses the same technology as a platform for students
and teachers to collectively develop a curriculum and
organize classes, bringing people together into physical
classrooms. The impulse to document seemed to reinforce
the idea of a centre or origin, and so class documentation has
been generally eliminated in favour of the idea that a group
can collectively produce knowledge themselves without
appealing to a higher, or central, authority.
Something now seems a bit self-satisfied by this position.
After all, millions of people around the world are actually
engaging with these forms of online learning. But they are
forms that tend to exploit ones paranoia about future
employability and teach marketable skills or inculcate the
viewer-student into the new religion of entrepreneurial,
technological innovation. Where is the online educational
space for learning for its own sake? For the development of
critical thought? For the articulation and circulation of new
concepts, languages and political possibilities? Contemporary
distance education, bedeviled by the question ofaccreditation, seems totally incompatible with these
questions. Instead we witness the survival of 19th- and early-
20th-century colonial concerns over standardization, filtered
through the Internet economy.
We are launching our External Program this autumn not
simply as another player in the landscape of online
education, but as a quasi-institution devoted to the study of
its own conditions, and to externalization in all its forms:
the remote student body; passwords and profiles; contingent
faculty; outsourced assessment systems; the move toward
cloud computing; militarization of campuses; student loandebt; stress, depression and anxiety.
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Gilles Deleuze observed in his Postscript on Control
Societies (1990) that perpetual training tends to replace the
school and that young people strangely boast of being
motivated. This could not better describe our present
moment in which one of the new, popular televisual genres
that have emerged over the last few years is the video lecture
the elementary building block of online education.
Interestingly, these videos are not simply broadcast out fromthe institution to the citizens beyond, but with growing
frequency are consumed within the institutions themselves.
Perhaps the reason that the original External Programme
seems out of date is precisely because it is no longer external
or exceptional, but rather it describes the new normal
condition of the university itself.
SOMA, Mexico City
Yoshua Okn
An artist based in Mexico City, where in 2009 he co-founded
SOMA, a non-profit space and art school.
Sam Thorne What is the background to SOMA?
Yoshua Okn SOMA is a non-profit space that was
founded in November 2009. It has an artist council which
determines content, and a team of art historians and
administrators who run the day-to-day operations. We havefour programmes: a weekly public programme of
interdisciplinary talks and performances; an MFA-level
academic programme for 24 students; a six-week summer
programme (taught in English); and a residency programme
focused on inviting art professionals to teach and talk.
ST Do you have any specific historical models or
influences?
YO SOMA mainly comes from the tradition of artist-run
spaces. Historically, artists have been especially good at
identifying cultural needs and in making them available
through the creation of structures. These have usually been
independent, but sometimes artists have also used official
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institutions for instance, the MFA programme I attended at
UCLA was created by artists. Many of the artists involved in
soma, myself included, played an important role in Mexico
Citys artist-run scene during the 1990s, which was key in
transforming the cultural scene and in building a strong
sense of community.
ST How are you funded?
YO SOMA is a non-profit organization and most of ourprogrammes are either completely or
partially subsidized. For the regular academic programme,
students pay between zero and 30 percent of the tuition,
depending on their economic situation. And our weekly
public programme is completely free. The space is funded by
a private board of philanthropists as well as by grants and by
the money raised with programmes like SOMA Summer.
ST Is SOMA a specific response to something?
YO We live in societies that are increasingly alienating and
where there is little room for agency and for meaningful
human interaction. Art and culture have been turned into
industries with more and more emphasis on spectacle and
less on content and discourse. SOMA was conceived as a
place for creative interaction and dialogue amongst different
generations and, in its own small way, it tries to compensate
for the general situation. Also, in the Spanish-speaking
world theres a strong need for an updated MFA
programme there is a huge demand. We have students
from Spain, Peru, Brazil, Colombia and many cities around
Mexico. Less than 25 percent of the students are originally
from Mexico City.
ST Do you award a qualification of any kind?
YO We are deliberately non-credited because accreditationbrings more limitations than advantages. But we do give
students a diploma once they graduate from the two- to
three-year programme.
ID photos of the 120+ students enrolled in the School of
Global Art, rendered as a portrait of Yoda from Star Wars
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School of Global Art, London
Lucky PDF
An artist collective formed in 2008 in London, UK. They
initiated the School of Global Art an online and real-world
network earlier this year.
Since the beginning of the year, LuckyPDF have been
recruiting students to the School of Global Art
(schoolofglobalart.org, SGA), a project that uses low-cost
airlines and high-speed Internet to develop a peer-2-peer
meshwork of learning. More than 120 students have enrolled
online and at special recruitment events in Birmingham,
London and Melbourne. Luckypdf interviewed four of the
students about their experiences of education and the
Internet.
Katherine Sullivan (22), lives and studies in New York,
USA (convoluteface.tumblr.com)LuckyPDF Whats your current level of education-related
debt?
KS Im afraid to check, but maybe something like
US$100,036.21.
LP How likely is it that you will ever pay this back?
KS Unlikely, unless I decide to take extreme measures. It
seems most people tend to take extreme measures in order to
pay back loans. I feel as though I should make a statement
about the absurdity of student debt here, but I think a lot of
us already understand.
LP Was the fact that SGA is free to enrol an incentive?
KS Certainly, as well as the graphic design in the promovideo, the Ryan Trecartin and Cory Arcangel screenshots
from Facebook, not to mention the 100 percent satisfaction
guarantee.
LP Should all education be free?
KS Yes, but ...
LP Do you value your own intellectual property?
KS Not particularly, but I am told that I should.
James Bowen (23), lives and works in Wellington, New
Zealand (opensurgery.tumblr.com)
LP Whats your current level of education-related debt?
JB I graduated in 2011 with a Masters in Fine Arts fromMassey University, New Zealand. My debt has reached
NZ$60,000.
LP How likely is it that you will ever pay this back?
JB I have a huge conscience about it that does my head in.
Last year I travelled and worked abroad and didnt pay
anything back. Now Im looking for work in Australia,
specifically in the mining industry, where I would be able to
pay it back in one year and still have cash left over.
LP In the course of your education, have you ever copied or
downloaded materials, resources or tools without paying for
them?
JB Yes.
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LP Would you have been able to afford the estimated retail
value of the material?
JB Im not sure about that. I always download new
versions of Photoshop, Final Cut and I torrent music and
movies too.
LP Would your education have been possible without
them?
JB No way. Ive been downloading and ripping contentsince I was a kid and figured out how to do it on the Internet.
Ive gained a huge skill set and knowledge base from using
pirated materials.
Carson Salter (27), studying corporate semiotics and
operational images at MIT (teachablefile.org)
LP What made you enrol with the School of Global Art?
CS I like to know about educational experiments. I am a
spy and Im a joiner.
LP Whats your current level of education-related debt?
CS No debt so far.
LP Was the fact that SGA is free to enrol an incentive foryou?
CS I wouldnt have enrolled if it had cost money.
LP Should all education be free?
CS Some types of education are speculative investments,
and should be paid for by the speculator. A costly education
should prove its value in the industry or domain where it
pays off, whether it pays off financially, socially, personally.
Its a problem when educational institutions imply value
where there is none (whether by deceiving students or by
shifts in the field).
LP Do you value your own intellectual property?
CS I enforce it personally.
Enrico Boccioletti (28), lives in Milan, Italy
(http://www.spcnvdr.org)
LP Should all education be free?
EB I dont think that would be a conclusive solution. But it
should be permissible to steal education for yourself.
LP In the course of your education, have you ever copied or
downloaded materials, resources or tools without paying for
them?
EB It happens all the time.
LP Would you have been able to afford the estimated retail
value of the material?EB I wouldnt be able to quantify an amount, but by no
means would I have been able to afford even ten percent of it.
LP Would your education have been possible without these
materials?
EB Not at all.
LP Do you value your own intellectual property?
EB Of course, intellectual property means a lot to
everybody; thats the reason why it should be free to circulate
in new production and gain mechanisms to be triggered.
LP Would you steal a handbag?
EB Not if there was only one left.
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Fifth-floor studio of Islington Mill Art Academy, Salford, UK,
2012
Islington Mill Art Academy, Salford
Maurice Carlin & Lauren Velvick
Islington Mill Art Academy in Salford, UK is a free,
self-organized art school that was founded by Lusy
Bernard, Andrew Beswick, Maurice Carlin and Louie Lister
in 2007.
Sam Thorne What is the background to Islington Mill Art
Academy?Maurice Carlin & Lauren Velvick We met in 2007
whilst on an art foundation course at Stockport College, near
Manchester, at the time all of us were talking about the
different universities and courses we might move on to.
Tuition fees of 3,000 per annum had just been introduced
in the UK. After attending various university open days, we
were uninspired by the prospect of spending our time and
money at any of them. So four of us decided to create our
own framework for becoming artists, drawing on what
resources we could muster.
ST Do you have any specific historical models or
influences?MC & LV We were aware of well-known schools, such as
the Bauhaus and Black Mountain College, but they seemed
distant. As we were at the beginning of our art education, we
didnt yet have the experience that an education might bring
to draw on, respond to or battle against. But we did have
the sense that art school need not be onerous, that it could be
something that any group of willing and energetic people
could create for themselves.
ST How are you funded?
MC & LV We are self-funded each person supports
themselves through paying for a studio space (if they want or
need one) and contributing to research trips and residencies.
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We have invaluable support from individual artists and
organizations. Many people have become involved on the
basis of taking part in a mutual exchange of learning.
ST Is your initiative a specific response to something?
MC & LV Universities can present too-narrow a definition
of what it might mean to be an artist in the world; students
are set up to fail, partly because of this. We realized that
many artists dont get the skills or awareness needed tofunction and survive in the real world from their education.
Graduation is presented to them as a crucial benchmark in
becoming an artist, but weve come to believe that its the
beginning of something rather than an endpoint the
process of becoming an artist is an unending one.
ST Do you address a specific local community?Is there a
national or international component?
MC & LV The Art Academy is based at Islington Mill, in an
area of Salford that is currently undergoing significant
regeneration, and some of our artists have worked with
individuals and communities in the area. We have also forged
links with other experimental art schools throughout the UK
including the Glasgow Open School, The Free University of
Liverpool and Department 21, which is based at the Royal
College of Art in London and have set up artist exchanges
with arts organizations in Berlin and Barcelona.
ST Do you award a qualification of any kind?
MC & LV No, though we have had a graduation party
where we awarded our own qualification (which is called an
n/a) for skills, experience and qualities not formally
recognized by academia. People graduate or move on when
they feel ready to; some leave formally whilst others drift into
new areas of practice, sometimes returning further down theline.
Exterior of MASS Alexandria, Egypt, 2012
MASS Alexandria
Wael ShawkyAn artist based in Alexandria, Egypt. He founded MASS
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Alexandria, an alternative art education space, in 2010.
Sam Thorne What is the background to MASS
Alexandria?
Wael Shawky While studying at the Faculty of Fine Arts
at the University of Alexandria, I found that there was a huge
gap between what artists study in the academy and what weface after graduation. Later I worked as a professor there, but
had to leave after two years as I felt the system was restrictive
and anachronistic. Emerging from art school I found all
opportunities for artists to travel, to study etc. were
determined by Egypts Ministry of Culture.
After receiving the Grand Prize at the Cairo Biennale in 1996,
the state made it impossible for me to work in Egypt. For four
years I was in a sort of exile, and I took the opportunity to
study in the us, where I dreamt of finding an alternative
space for education. When I returned to Egypt, William Wells
had opened Townhouse Gallery and other independent
spaces began to emerge. The art scene was completelytransformed, but independent platforms for art education
were sparse. In 2010, with guidance and continued
contributions from curator and writer Sarah Rifky, mass
Alexandria was born. The inaugural mass Alexandria Pilot
Studio Programme was housed in a shared studio to provide
the facilities and the opportunity for the encounter, study and
production of art. In 2012, Daniella Rose King joined the
mass Alexandria family as Programme Curator.
ST Do you have any specific historical models or
influences?
WS One of the most important influences during my
undergraduate studies was my professor, the artist Farouk
Wahba. He studied at the Dsseldorf Art Academy, and
introduced me to the German art education model of the
master and apprentice. While I was studying I felt this was
the ideal,as many educators in Egypt do, but eventually I
found this system extremely egotistical and dictatorial.
I wanted to find a platform for students,not of teaching or
receiving knowledge, but of opening a dialogue, where they
could choose what direction their work would take. I decided
thatI would bring together 12 to 20 students for each
programme, through an open call for applications, and work
with them individually and as a group for seven months,where the students are static and the professors change.
mass Alexandria aims to complement the practical,
craft-based skills offered by the university with studies of
theory and methodologies to enable new channels of
thinking.
ST How are you funded? Is mass free to attend?
WS mass Alexandria has been self-funded as well as having
received support from The Foundation for Arts Initiative, the
Goethe-Institut Alexandria, the Arab Fund for Arts and
Culture, and the Young Arab Theatre Fund. Essential to the
premise of mass Alexandria is that it is free for artists to
participate.
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ST Is your initiative a specific response to something?
WS It is certainly a response to a lack of art education
schemes in Alexandria, as well as more generally in Egypt.
We hope to develop a new approach to art education, in light
of existing programmes, and in relation to the needs and
interests of the artists involved.
ST Do you address a specific local community.And is there
an external section of activities?WS Activities largely take place in Alexandria, but also in
Cairo. This year, nine students were invited to work as
assistants to a number of artists in dOCUMENTA (13) in
Kassel for a one-month period as part of The Cairo Seminar:
Studium. The development of an international residency, or
working opportunity component, is being pursued as a core
part of the programming at MASS Alexandria.
ST Do you have a curriculum?
WS There is no strict curriculum, but it is important for us
to create an open space in Alexandria that can facilitate the
discussion of ideas, practices and thoughts, and that
encourage diverse relationships with art, between artists,
curators, critics and audiences.
Stamp for The Silent University, 2012
The Silent University, London
Ahmet t
An artist based in Amsterdam, the Netherlands, and
Istanbul, Turkey. The Silent University a nomadic, multi-
lingual institution was launched this year in collaboration
with Tate and Delfina Foundation, London, UK.
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It is not the case that a man who is silent says nothing.
Anonymous, quoted in Keith H. Basso, To Give Up on Words:
Silence in Western Apache Culture (1970)
In 1873, the writer and educator Anna Eliot Ticknor
founded the Society to Encourage Studies at Home. This was
a Boston-based network of women teaching women by mail
that the literary scholar Harriet F. Bergmann recentlydubbed The Silent University. Almost 140 years on from the
inauguration of Ticknors society, the urgency for an
organization of this kind has shifted from women in need of a
liberal education to marginalized groups such as refugees and
asylum seekers, in particular those whose professional lives
have been interrupted by displacement.
Many people in the UK today are unable to practice their
previous professions or use their qualifications, for reasons
that range from insecure immigration status to English not
being their first language. This situation led to the foundation
of The Silent University, a collaboration between myself,Tates adult programmes curator Nora Razian and
community curator Synthia Griffin, with the support of the
Delfina Foundation. This project is a self-institutionalized,
autonomous knowledge platform that aims to challenge the
idea of silence as a passive state; we hope to explore its
powerful potential through performance, writing and
reflection. The Silent University aims to address and
reactivate the knowledge of the participants, inventing
alternative currencies in place of money or free voluntary
service. These explorations attempt to make apparent the
systemic failure and the loss of skills and knowledge
experienced through the silencing process of people seekingasylum.
As Mladen Dolar argues very beautifully in his 2006 book A
Voice and Nothing More: We must not interrupt the silence
unless we have something to say which is better than silence.
Working with partners including Southwark Refugee
Communities Forum, Migrants Resource Centre and United
Migrant Workers Education Project, a programme has been
developed that includes lecturers, consultants and research
fellows. There are currently about 30 participants at The
Silent University. Our lecturers include a pharmacist from
Syria, an accountant from Congo, a marketing manager fromZimbabwe and a calligrapher from Iraq. Our academic
consultants include an astrophysicist from Iran, a union
learning organizer from Colombia and a journalist from Sri
Lanka. Course topics will be connected to participants
specific qualifications and presented in any language. The
first of these will take place at Tate Modern in November,
along with a one-day symposium, gathering together
individuals and organizations engaged in alternative
education, specifically those initiated by institutions, artists
or artist groups, and autonomous collectives.1
Tate will host The Silent University until the end of the year,but ideally the participants will eventually take The Silent
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University over as their own institution. It will survive as a
University in Time2 and will mostly be accessible online,
appearing temporarily where hostedby collaborating
institutions. We will hopefully manage to have a permanent
course under the umbrella of larger universities, which can
provide some sort of curriculum or qualification in the
future.
In 1976, the British artist Stephen Willats published Art andSocial Function, which includes analyses of The West London
Social Resource Project that took place in 1972. As he
explains, their fundamental concern was the relationship
between coding structures and patterns of behaviour. Willats
argues that the ways people code themselves (how they dress,
how they speak) can reflect their desired or actual position
within a community he calls these life codes. Whatever the
barriers are, The Silent Universitys main aspiration is for all
the participants to stop waiting in limbo, and to take the
initiative right now by using their imagination, and
collectively construct their own reality and life codes. As
Susan Sontag wrote in her 1967 essay The Aesthetics of
Silence, we must acknowledge a surrounding environment of
sound or language in order to recognize silence.
1 To name some of the exemplary practices and projects in
alternative education: Bank of Ideas The School of Ideas;
Tent City University at Occupy London; Free University,
Berlin; The Public School, Los Angeles; Centre for Possible
Studies, London; zgr niversite, Ankara; Radical
Education Collective, Ljubljana; The Autonomy Project
Summer School, Eindhoven; Wide Open School, Hayward
Gallery, London; Really Free School, London; United
Migrant Workers Education Project, London; School of
Missing Studies, Amsterdam; The Faculty of Invisibility,
Amsterdam; Freie Hochschule Stuttgart; the School of Global
Art.
2 In 1992, the Slovenian artist collective Neue Slowenische
Kunst initiated the ongoing project State in Time, the first
global state of the universe, which currently has some14,000
citizens around the world.
Sam Thorne
is associate editor offrieze and is based in London, UK.
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