Emerging Research: Anthropology of the Contemporary Research Collaboratory (ARC)

The rather lengthy-titled Anthropology of the Contemporary Research Collaboratory — or ARC for short — is an initiative of Paul Rabinow and other scholars of Foucault, biopower, etc. to develop a standards-oriented, collaborative research practice that adopts (and adapts) the model of laboratory common to health and natural sciences for human and social scientific purposes. As they write:

[W]e wanted to explore a model of academic production that would include individual work but that would also recognize the centrality of – and create organizational space for – serious collaborative work. By collaboration we have in mind two different kinds of work: first, the joint production of papers and research; and second, concept development, collective reflection, and shared standards of evaluation. (Collier, Stephen, Andrew Lakoff, and Paul Rabinow. “What is a Laboratory in the Human Sciences?” ARC Working Paper, No. 1, February 2, 2006.)

As a result the group, which includes other academics and graduate students, has published a series of papers — “Concept Notes” and “Working Papers” at the present — on the group’s website, http://www.anthropos-lab.net. In the spirit of their endeavour, they have released these resources for free under a Creative Commons Attribution 3.0 license.

As follows the CC motto here, share alike!

NIIPA: Native Indian/Inuit Photographers’ Association

NIIPA LogoNIIPA, the Native Indian/Inuit Photographers’ Association, was an educational and support network incorporated in 1985 and designed to “encourage as well as promote the usage of photography as a medium of the fine arts.” Although NIIPA’s website, creative-spirit.com, went inactive in 2003, the site’s dozen or so pages — including a detailed, eight-page history of the organization — can be accessed via the Internet Archive’s Wayback Machine; the last, pre-expiry capture of the homepage is dated December 5, 2003 and can be accessed here (link opens in a new window): http://web.archive.org/web/20031205022916/http://www.creative-spirit.com/default.htm

Forms and Texts of a Socially Engaged Art: A History of Groups, Materials, Forms, and Ideas (in progress)

Last updated: Saturday Aug. 3, 2013


Undated; and Organizational & Project Websites (Selected; for a fuller, more comprehensive listing, visit: https://artbridges.wordpress.com/a-growing-community/)
ArtBridges
Arts for Children and Youth (AFCY)
Broken City Lab: Artist Collective & Civic Space. “About Broken City Lab.” Accessed August 3, 2013. http://www.brokencitylab.org/about/.
Cabbage Town Community Arts Centre (CCAC)
Center for Digital Storytelling. “About Us.” Accessed August 3, 2013. http://storycenter.org/about-us/.
Community-Based Research Canada / Recherche partenariale du Canada. “Who We Are.” Accessed August 3, 2013. http://communityresearchcanada.ca/?action=who_are_we.
Greetings From Motherland. “New Workshops!” Last modified December 17, 2012. http://www.greetingsfrommotherland.com/blog/.
Hemispheric Institute of Performance and Politics / Instituto Hemisphérico de Performance & Política. “Mission.” Accessed August 3, 2013. http://hemisphericinstitute.org/hemi/en/mission.
Jumblies. “About us.” Accessed August 3, 2013. http://www.jumbliestheatre.org/us/index.html.
Literacy Through Photography. “What is the LTP Blog?” Accessed August 3, 2013. http://literacythroughphotography.wordpress.com/what-is-the-ltp-blog/.
MABELLEarts. “About.” Accessed August 3, 2013. http://mabellearts.ca/about/.
Making Room Community Arts. “About us.” Accessed August 3, 2013. http://making-room.org/about-us/.
Mural Routes. “About Us.” Accessed August 3, 2013. http://www.muralroutes.com/aboutus.htm.
Myths and Mirrors Community Arts
Neighbourhood Arts Network
Project Row Houses. “About Project Row Houses.” Accessed August 3, 2013. http://projectrowhouses.org/about/.
Regent Park Focus Youth Media Arts Centre. “About Us.” Accessed August 3, 2013. http://www.regentparkfocus.com/content/aboutus.html.
Shadowlands
Sketch
Take Me With You. “About.” Last modified April 22, 2011. http://www.takemewithyou.ca/?page_id=2.
Whippersnapper Gallery. “About.” Accessed August 3, 2013. http://whippersnapper.ca/?page_id=7.
Workers Arts and Heritage Centre. “About WAHC.” Accessed August 3, 2013. http://www.wahc-museum.ca/about.php.

Defunct Organizations
Community Arts Network (CAN). Active July 1999-April 2010. http://www.apionline.org/.
Community Arts Ontario (CAO). 1990-October 2012. http://artbridges.wordpress.com/2012/10/22/news-community-arts-ontario-suspends-operations/.
Native Indian/Inuit Photographers’ Association (NIIPA). 1980s-1990s (?) http://web.archive.org/web/20031205022916/http://www.creative-spirit.com/default.htm.
Neighborhood Arts Programs National Organizing Committee (NAPNOC). 1970s-1990s (?)

2013
Finkelpearl, T. 2013. What We Made: Conversations on Art and Social Cooperation. Durham: Duke UP.
Goldbard, A. 2013. The Culture of Possibility: Art, Artists & The Future. Waterlight Press.
Goldbard, A. 2013. The Wave. Waterlight Press.

2012
Bishop, C. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.
Calo, C. G. 2012. “From Theory to Practice: Review of the Literature on Dialogic Art,” Public Art Dialogue 2.1: 64-78.
Dávila, A. 2012. Culture Works: Space, Value, and Mobility Across the Neoliberal Americas. New York: New York UP.
Thompson, N. 2012. Living as Form: Socially Engaged Art from 1991-2011. Cambridge: MIT Press.

2011
Barndt, D., ed. 2011. ¡Viva! Community Arts and Popular Education in the Americas. Toronto: Between the Lines.
Crehan, K. 2011. Community Art: An Anthropological Perspective. Oxford: Berg.
Helguera, P. 2011. Education for Socially Engaged Art: A Materials and Techniques Handbook. New York: Jorge Pinto Books.
Jackson, S. 2011. Social Works: Performing Art, Supporting Publics. New York: Routledge.
Kester, G. 2011. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke UP.
Shollette, G. 2011. Dark Matter: Art and Politics in the Age of Enterprise Culture. London: Pluto Press.

2010
Burns, L. and J. Frost. 2010. Arts-Informed Evaluation: a Creative Approach to Assessing Community Arts Practices. Big Tancook Island: Backalong Books.
Howley, K., ed. 2010. Understanding Community Media. Los Angeles: SAGE.
Kulick, R. 2010. “Youth Empowering Youth: Collective Processes in Making Independent Media.” PhD diss., Brandeis.

2009
Lambert, J. 2009. Digital Storytelling. 3rd ed. Berkeley: Digital Diner Press.

2008
Condé, C. and K. Beveridge. 2008. Condé and Beveridge: Class Works. Halifax: NSCAD Press.

2007
Bradley, W. and C. Esche, eds. 2007. Art and Social Change: A Critical Reader. London: Tate.
Clover, D. 2007. “Feminist aesthetic practice of community development: the case of Myths and Mirrors Community Arts,” Community Development Journal 42.4: 512-22.
Diamond, D. 2007. Theatre for Living: The art and science of community-based dialogue. Victoria: Trafford Publishing.

2006
Ashford, D., W. Ewald, N. Felshin, and P. C. Phillips. 2006. “A Conversation on Social Collaboration,” Art Journal 65.2: 58-82.
Goldbard, A. 2006. New Creative Community: The Art of Cultural Development. New Village Press.
Howard, R. 2006. “The Cultural Equivalent of Daycare Workers?” Dramatic Action: Community Engaged Theatre in Canada & Beyond. Toronto. January 5. http://communityengagedtheatre.ca/Ruth_Howard%20article_lo.pdf.
Kuppers, P. 2006. “Community Arts and Practices.” Culture Machine 8. Accessed August 3, 2013, http://www.culturemachine.net/index.php/cm/article/view/45/53.

2005
Graves, J. B. 2005. Cultural Democracy: The Arts, Community, and the Public Purpose. Urbana: University of Illinois Press.
Howley, K. 2005. Community Media: People, Places, and Communication Technologies. Cambridge: Cambridge University Press.

2004
Burnham, L. F., S. Durland, and M. G. Ewell. 2004. “The CAN Report: The State of the Field of Community Cultural Development: Something New Emerges: A Report from the Community Arts Network Gathering, May 2004.” Saxapahaw: Art in the Public Interest.
Kester, G. 2004. Conversation Pieces: Community and Communication in Modern Art. Berkeley: U California Press.

2003
Goldbard, A. 2003. “When (Art) Worlds Collide: Institutionalizing the Alternatives,” in Alternative Art New York, 1965-1985, edited by J. Ault, 183-200. Minneapolis: U Minnesota Press.

2002
Adams, D. and A. Goldbard, eds. 2002. Community, Culture and Globalization. New York: Rockefeller Foundation.
Bourriaud, N. 2002 (1998). Relational Aesthetics. Dijon: Les presses du réel.
Halleck, D. 2002. Hand-Held Visions: the Impossible Possibilities of Community Media. New York: Fordham University Press.
Kwon, M. 2002. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press.
Lerman, L. 2002. “Art and Community: Feeding the Artist, Feeding the Art.” In Community, Culture and Globalization, edited by D. Adams and A. Goldbard, 51–69. New York: The Rockefeller Foundation.

2001
Ford-Smith, H. and S. Methot. 2001. No Frame Around It: Process and Outcome of the a Space Community Art Biennale. Edited by Melanie Fernandez. Toronto: A Space Gallery.

2000

1999
Alberro, A. and B. Stimson, eds. 1999. Conceptual Art: A Critical Anthology. Cambridge: MIT Press.
Braden, S. and M. Mayo. 1999. “Culture, Community Development and Representation.” Community Development Journal 34.3: 191–204.

1995
Felshin, N., ed. 1995. But is it Art? The Spirit of Art as Activism. San Francisco: Bay Press.
Lacy, S., ed. 1995. Mapping the Terrain: New Genre Public Art. San Francisco: Bay Press.

1986
Bezencenet, S. and P. Corrigan, eds. 1986. Photographic Practices: Towards a Different Image. London: Comedia.

1984
Greene, M. 1984. “The Art of Being Present: Educating for Aesthetic Encounters,” Journal of Education 166.2: 123–135.
Kelly, O. 1984. Community, Art and the State: Storming the Citadels. London: Comedia.

1983
Braden, S. 1983. Committing Photography. London: Pluto Press.

1978
Braden, S. 1978. Artists and People. London: Routledge & Kegan Paul.

1974
Kaprow, A. 1974. “The Education of the Un-Artist, Part III,” Art in America 62.1: 85-91.

1972
Kaprow, A. 1972. “The Education of the Un-Artist, Part II,” Art News 71.3: 34-39.

1971
Kaprow, A. 1971. “The Education of the Un-Artist,” Art News 69.10: 28-31.

A Select (and Partial) Survey of Community Arts Websites

I was asked by an associate of one of the following sites to compile the following list (after the jump) of Toronto-area community arts and affiliated organizations. The idea was to highlight how each site both painted a picture and told a story of its mission, purpose, and history to an assumedly anonymous web audience. I focused on homepages and “About” sections, mostly, but also did screengrabs of logos. I also did a brief search to locate a select few sources from the US.

The following list is in no particular order. It makes no effort to be comprehensive, and so is provided “as-is.” It is also not an attempt to be comparative in any way (these are obviously very different practices). Nor is it an attempt to infringe on any copyright: all the material here is derived directly from the websites listed.

Finally, I’m happy to add to this list any suggestions viewers may provide; however, given the multitude of other efforts in my life at present, I will maintain this only infrequently at best. Besides which a more useful, complete, and interactive list of Toronto-area community arts efforts can be found at the Neighbourhood Arts Network (http://www.neighbourhoodartsnetwork.org/), a site put together by the Toronto Arts Foundation (TAF) and Art Starts; please visit the site, or contact Skye Louis at TAF for more information.

Continue reading

Consumption vs. Production: A Response to the Inside Higher Ed Article

This post is a bit of a rambling response to this article http://www.insidehighered.com/news/2010/12/22/college_students_test_drive_the_apple_ipad, written for a research project on iPad’s of which I am a part.

There’s a fairly limited notion of what student production is all about in this article. I find this concerning, because it reveals both a simplistic belief of what educational administrators hold school to be all about for students and, perhaps, a passive view students have come to have of themselves as learners. It seems here that production is about writing undergrad essays and little more; that is, doing the labour of the academic institution in a strict sense. Student production, then, exists alongside the forms of university production, like that of educator/professors, academic support workers, rather than as part of the broader society as a whole. Indeed, it may even exist below rather than alongside, given that the latter are paid for their work, while students – even with scholarships – are left with debt or at least poverty.

I don’t mean to sound cynical: obviously this is a form of work students are willing to gamble on, believing that what they put in will turn into what Pierre Bourdieu called “cultural capital,” the capacity to earn higher wages and more advanced social status through the acquisition of knowledge and understanding. What I am concerned about is the way the nature of this production process is represented. Students are being represented doubly as consumers, and not really as producers at all to the extent that the accumulation of cultural capital appears summative – conferred ultimately and finally by a degree – rather than ongoing and continuous. Let me explain what I mean.

Essay writing is essentially a cliched, albeit useful, productive task. It typically generates no new knowledge, and is essentially a formality to academic ascension, a product that is consumed by professors in return for a grade students consume in return. At best in this schema, students learn to master some of the tasks and techniques of their trade, acquiring a kind of formal cultural capital: a letter grade or, eventually, the degree designation of their field. At worst, it impresses upon them the idea that enough practice of this sort will actually prepare you for the dynamism and unpredictability of the real world. This is a dangerous and sad view of education for anyone to hold. Certainly essay writing is but one possible form of disciplinary learning; there are many others.
Perhaps I’m being overly dramatic, but I feel education should be, and occasionally IS, about so much more than this manner of production, as if for a text-based, tradition-bound social order. Anyone who has had a profound learning moment has been transformed by it; this spirit of change is, in fact, what is at the root of education. Learning is impossible in stasis and fixity, and exists in so many more spheres than can be captured exclusively in scientific or literary writing (…he says as he writes his blog post…). Besides, we’re all already in the world, living its contradictions and challenges, engaging in real interpersonal and cultural situations – relationships with consequences, of course, both good and bad. To misrecognize this actuality is doing a disservice to all those involved in university learning.

I do realize that this is an article about iPads in college/university, so pardon me if you see what I have so far written as a digression (or even as a diatribe). However, it’s more fundamentally an article about technology meshing with a social institution; about a relation between humans and their world that is far older than the novelty of the iPad might first suggest. This narrative unfolds rhetorically something like this. First, a process of dichotomization is introduced: the iPad is a consumption device; it produces far less well. Then there’s a kind of humanization or anthropomorphization of this claim: in universities, students consume and produce, particularly in a written, text-based modality. Finally, there’s a normalization of it all: students can use the iPad to read course texts and access academic (and non-academic, another dichotomization) sources, but not for producing conventional written coursework with ease. At each stage, in short, assumptions are made about the nature of undergraduate work, about what students are capable of doing and thinking, about how students are apparently distinct from “regular” people and their learning more generally, about what relations we should have to our technology, and many more.

I’m not sure exactly what I’m pointing out, except a general concern about how the relation between an iPad and undergraduate education is structured in such narrow terms in this article. Such a view is stultifying, personally and socially, even if it is commonsense or just common. You might think I’m just making mountains out of molehills, but I don’t think so (even though I may be reacting to the article a little too harshly). Perhaps I’m arguing that what often seems to be the horizons of learning are actually mutable: that taking the iPad out of the classroom and into the world (theory about service learning might provide a few good examples here) could change what knowledge is; that using an iPad to demonstrate what a technique actually looks like, in practice, could foster a different understanding of theory; that incorporating an iPad into groupwork – as more than just fancy chart paper – could deindividualize and collectivize learning. If so, then perhaps what I’m also saying is that the impetus cannot come from the technology alone, iPad or otherwise. It must also come from the human side – students, schools and programs, and their relations to the world beyond the walls of the academy.

AML “Spotlight on Media Literacy” Workshop: “Photography in the Curriculum and Outside the Classroom”

AML “Spotlight on Media Literacy” Workshop – Saturday, October 23, 2010, OISE/UT, Toronto

it was under the pretense of that rather ambitious title – Photography in the Curriculum and Outside of the Classroom – that i pitched a few propositions under the guise of a media literacy/media education workshop. in part, i only had a vague idea of who to expect: teacher candidates most likely, but with what goals in mind? did they want to teach photography in maths or sciences, or through more conventional courses like social studies and languages? did they have extensive photography experience, or simply a desire to become more critical and discerning?

i could not know, so i structured the workshop with a few propositions in mind:

  1. photography is democratic. we all know (at least tacitly) what goes into making a picture with a camera and, indeed, what goes into making a good picture. we’ve all seen photos and used cameras, even if we haven’t thought too critically about how to change mainstream practice.
  2. visual communication demands different pedagogy. because a photograph is both real and not real – that is, of something that really did exist, however momentarily, and of something that’s been fabricated and manufactured through a number of editorial and authorial processes – because of this complexity, photography cannot be taught in conventional ways. for example, photographs cannot be “read,” critically or otherwise, without losing the idea that they were once part of bodily experiences and social actions that exist outside of what language and discourse can signify.
  3. photography is messy. it doesn’t have clear borders and boundaries: talking about Ansel Adams without discussing how sexting is somehow related might be convenient, but it doesn’t make sense.

my goals for the session were ambitious, perhaps, but nevertheless they were as follows (nb. these correspond with the points above):

  1. teachers need not (nor should not) be experts, nor should students be novices, when it comes to photography. indeed, students might be better suited than teachers to understand the most recent advances in photographic technology and the most emergent uses of photographic images; this knowledge should be developed rather than bypassed or ignored. doing so makes the learning much more salient for students, and takes the onus off the teacher for being a “content-expert” at the front of the room.
  2. experiential and reflexive strategies are best suited to learning through photography. if my first proposition is true, then description serves as a potent strategy. in fact, simple description of a visual form is quite difficult: all kinds of assumptions trouble the visual evidence photographs seem to hold. identifying and distinguishing what students can determine as fact versus what they are making as assumptions can be a very useful way to start critical interpretations of images. the brief prompt “how do you know (that this is a fact and not an assumption)?” directs students toward greater self-reflexivity, particularly when treated as a mantra, and repeated with every apparent claim to certainty with photographs. asking students to recreate an image – in whatever register is most appropriate to the coursework – can push the reflexiveness even further, demanding that students put themselves in the shoes of a whole host of agents involved in making images. not only might they consider the photographer’s technical challenges, they might come to realize the role of editor, producer, judge, employer, advertiser, consumer (and more). even further, and hopefully, they might step out from behind the camera and empathize with the subject – and possibly victim – captured in front of the lens.
  3. photography is never something conceptual, but is always about people, relationships, emotions, feelings, and humanity. as with any medium we can learn technique through it, but the learning is bound to be richer when we realize it has become a significant part of who we are. just as this challenge of identity is never resolved, neither should our understanding of any medium cease.

my single regret was that i didn’t offer time for groups to think through unit- or lesson-planning with camera technologies in mind. in my defense, i thought the small group discussion was, for the most part at least, leading to some useful recognitions in educators new and experienced that technology is never a solution until pedagogy is addressed as well. i modeled some feedback strategies that were an attempt to plot out a shared practice that doesn’t recognize it’s end goal in advance. instructional design based on faith rather than ends might be antagonistic to prevalent traditions of planning and organizing in public education, but my optimism (perhaps naivete) leads me to believe that such an iterative, semi-structured approach is possible.

in any case, i left workshop participants with a resource list (Toronto-area, and other, Recommended Photography Resources) for their benefit, and an evaluation form (to be returned) that modeled a feedback process. while the feedback was generally positive, problems and challenges remain. i hope in future iterations of this conference, and elsewhere, i’ll be part of a collaborative force dedicated to resolving such challenges.