Abigail Neale SP

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Abby Neale
Social Practices in Art Fall 11

Reading Responses

Week 8

Elizabeth Ellsworth: Pedagogy’s Hinge
Compelling pedogocal spaces (as she refers to them) “invite self in relation in ways that activate the instability of the binary self/other.” And “drawing attention to how we are made up on the inside of our never ending interactions.” While this experience seems like it may feel dramatically challenging, especially when she connects this experience to Windicott.

The experience of transitional space occurs in a comforting area, where the viewer is empowered. A participant can submerge them self in the Vietnam memorial as long as they feel compelled. Viewers in the holocaust memorial control their path through the museum halls.

This control in participation and the understood context of “museum” and “memorial” provide the comfort needed in order for learning to occur. In education this is referred to as the “zone of proximal development” this is the metaphorical space out of a learner’s comfort zone, unfamiliar, but with reference points to prior information. A learner can either challenge himself or herself or retreat into the comfortable.

Ellsworth refers to spaces that “create and experience of an idea,” make a concept or quantity physical, and “walk able paths that instruct and offer insight..” These experience jive with the concept of constructivism, where learners actively make meaning from a learning experience. This means that as an artist, we can provide participants with components or with a tension to sort out themselves. Therefore, work can include metaphor and abstraction.

Week 7

Places of Learning
Ellsworth connects spaces of learning, emphasizing the process of learning and figuring out, rather than the end result of knowing. She connects this process to Windicott’s Transitional space.

Transitional space involves a child learning and developing the cognitive understanding of the separation between self and other. This also implies that the child feels a separation from its mother, to ease this transition, the child seeks a transitional object for comfort. This object is a soft object such as a blanket that helps sooth the child while understanding transitional space.

Understanding the separation between learning self and the experience plays a major role in experiencing a work such as Maya Lin’s Vietnam memorial. The viewer must surrender to the work and participate by moving through it, letting the emotional experience sink in. After this, the view must observe and think about the work less as an experience and more as a work of art, separating from it.

Similarly, with our Fallapolooza project, participants joined thinking about a mix of the excitement of the scavenger hunt and the desire for a prize. They completed the process and within their journey picked up learning experiences along the way. They took part for the experience, rather than the final learning goal. This does not mean, how ever, that we did not have a goal, it just means we did not overtly state what we hoped participants would gain. We set up a path that lead them to our learning objectives.

Many other education thinkers share Ellsworth's thinking regarding engaging bodies in education and the classroom. Maria Montessori and her schools base an educational philosphy on the concept of the embodied learner. These schools implement learning toys and tools that enable children to manipulate concepts such as numbers and colors that they learn about academically. Many other researchers have spent time examining what desks, buildings and chair designs most efectivly help learning bodies. I read this in The 3rd teacher, which I checked out of the library and placed in the vapa space.

As someone with a mishmash of teaching experience, I am aware that students learn better if students are engaged with their bodies. This can be as simple as counting with an abacus, asking students to draw shapes with their fingers in the sand, and providing movement opportunities in lesson plans. (.ie. stations or "can you show me what 'big' looks like?" type activites). Involving bodies, rather than ignoring them, a teacher can cultivate the energies of students, rather then suppressing.

Excellent points, Abi. Looking forward to hearing more in class. Robert_Ransick 21:20, 31 October 2011 (UTC)

Latent Learning Curriculums: Christopher Lee
Collective Security Club
What they refer to: “autonomy to covenantal existence, from anxiety to divine abundance, and from acquisitive greed to neighborly generosity.’ Common security club partici¬pants are experimenting with ways to make the practical, political, and spiritual changes.”
This practice reminds me of the concept of gift economy and identifies the community or neighborly value of a gift bassed exchange system.
This framework also builds a unique community support system beyond the exhanges of a gift flow model and emphasizies communal exhance of ideas, goods, and emotional support.

Community arts Singapore

Some lessons from the article that are applicable to community arts in general:

  • Arts events must relate to the community’s thinking regarding art, therefore one model for community art may not work in another culture
  • Residents and stake holders in community must participate,
  • These projects can be complex and hold multiple meanings
  • Getting people involves often requires engaging and collaborating with non art institutions

Harell Fletcher: Some Thoughts on Arts Education
Experiential education: sometimes, the best way to learn something is to experience it regularly and continually negotiate with it. Rather than describing something let people figure it out by experimenting.
Making art for both art and non- art publics: If your making esoteric work, you probably are not making a dramatic social impact. Collaborate and with non- art people. Not a lot of people without art backgrounds understand what social practice it, yet, social art projects often intend to engage people outside of the art world. In order to address this dilemma, some collaborators on project probably should come from outside the art scene.

Week 6

Farmer's Market Trip
The farmers market was off the main roads of Bennington, it was not in the path of the average grocery-shopping run. When I got there, I enjoyed the variety of products available, vegetables, baked goods, cheese, preserves and meats. The venders offered suggestions for what to do with their products, and provided free samples. Compared to other farmer’s markets I have attended, this one seemed more serious. The markets near me in CT are advertised as tourist and entertainment destinations. Often people buy picnic lunches and enjoy outdoor music; it feels more like a hanging out destination.
After consulting the vendors a few useful resources and pieces of information arose:
-The farm- to- plate initiative makes it possible for people with food stamps to purchase farmers market goods

-During the winter, the group that puts on the market will be thinking about ways to improve the market.
-It seems like some people may lack an understanding of where food comes from, food is usually not a major part of people’s education beyond elementary school. A possible next step to take in research.
- School lunches seemed to concern many farmers, they are non-nutritional and underfunded. The poor quality of the food may interfere with learning. One vender mentioned having students visit a farm

Notorious “renegade lunch lady:”  http://www.chefann.com/ 

Article about free lunches in summer in new haven: http://www.yaledailynews.com/news/2011/aug/31/new-food-truck/
Michelle Obama’s work in school luch reform: http://www.foodsafetynews.com/2010/02/first-lady-raises-profile-of-school-lunch-issues/
Jamie Oliver’s TED talk about food and education: http://www.ted.com/talks/jamie_oliver.html

Occupy and Situationist:
The Occupy movement operates as a spectacle. The individuals that take part in occupy include individuals attending protests, those who view image and media of the event and the target audience of the protest. The protest acts as a spectacle because of the media element. Other protests, such as the SVTU strike lacks the intrigue of the media because of the small scope and more short-term goal oriented demands.
I did a little more research and identified this excerpt from ‘’Society of the Spectacle’’ as resonate.
Situationist: society of the spectacle: http://library.nothingness.org/articles/SI/en/pub_contents/4
3 The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and of false consciousness, and the unification it achieves is nothing but an official language of generalized separation.
4 The spectacle is not a collection of images, but a social relation among people, mediated by images.

Beyond protest, occupy acts like a cultural movement, a set of ideologies spread, without an owner.
The issue of ownership brought me to the Haker’s Manifesto by McKenzie Wark. I found a Contemporary Sociology article by Stephen Pfohl about it on Jstor.

The manifesto identifies a new class division comprised of Hackers and Vectoralists. Hackers produce intellectual material, abstraction, and creative concepts. Vectoralists create ownership systems and own intellectual property.
The rise of the information class (I’m pretty sure this refers to the ready access of most any piece of media legally of illegally.) will lead to a rethinking of the concept of property with regards to gift economy.
One interesting response to the conflict between Vectors imposing ownership on creative Hackers is sci-fi author Cory Docrow’s simultaneously publishing his books under a Creative Commons license and through major publishing houses. He is most notorious for the dystopian teen book ‘’Little Brother.’’ Without the publishing house vehicle his books probable would not reach their intended audience, (not many high schoolers are on the creative licensing scene.) I it interesting that he puts his work up for free mostly out of principal.
Docrow’s site: http://craphound.com/

Week 5

Robert Ransick and Blake Goble
The relationship between utopian dreams and present is interesting. Building idealistic utopias through art distracts from reality. I suppose the alternative of creating a utopian alternative would involve a critical engagement with reality. Thinking about this with regard to art, this would involve making art that takes place in real space, rather than utopian gallery space.
Ransick describes the separation between thought and knowledge leading to a technological dependency. Technology, especially websites such as Wikipedia have made a good deal of knowledge freely available. We have slowly come to rely on this resource for most knowledge. Many people feel knowing and passively absorbing information will make them intelligent, however, critical thinking about information, something computers can’t do requires human power. Thinking is not as comodifiable as knowledge.

Relational Aesthetics
Art exhibits are described as “free spaces and period of time whose rhythm are not the same as those that organize everyday life.” Thus, art galleries require people to move at a different pace, one conducive to dialogue. From personal experience, talking to strangers in gallery settings feels easy, because you have a subject to talk about, facilitated by the world the gallery chooses. This gives curators of galleries incredible responsibility. The challenge of galleries as dialogical space, is that they have limited audience.
Social practice discourse about living life as a work of art challenges the older assumptions about the relationship of art and reality. Art brings people face to face with reality through fiction. This describes a good deal of artistic practice, but not art that exists in real space. I would not refer to Joseph Beuys’ “field character” or Oscar Wilde’s approach of “life as a work of art.” WochenKlauser’s work also does not fit into this definition of are as fiction.
The Individual as a Unit: Erving Goffman
Goffman examines the relationship between people in transit, that he refers to as vehicles. Pedestrians follow unwritten codes of behavior, and patterns that make moving from point A to point B most efficient. These rule structure the improvisation of walking on the sidewalk.
Being aware of these patterns helps me realize how poingent an interruption of the pedestrian vehicle is. To disrupt this organized and normed motion, the space pedestrians move in must change.
Goffman also differentiates groups of people walking in comparison to individuals. A lone pedestrian, such as me in my derive, negotiates directly with the city. This differs from groups, when I walked through Bennington with Fei or Jamie I negotiated with them more that the city itself.

Week 4

Time Capsule Lucy R. Lippard
Lippard identifies different movements in social arts: activist art and community art. Activist art uses discomfort to comfort society, and presents ideas that deviate form status quo. Community art brings people together, celebrating a community, while also embedding itself in it. One criticizes social structure; the other engages people in some kind possibly social artistic venture. While seemingly oppositional, these two ideas come together in the ‘’Collage of Indignation.’’ In this project, artists come together, in defiance.
Conceptual art brings about an attempt to subvert museum and art market. These artists often got caught in the same system they rebelled against, because rules of the art market “game” never were revolutionized.
Postmodernism brought forth the power of mass reproduction of an image. Technology enabled this spread of visual memes to large population. Such images have the potential to become a powerful tool for social change.
Similarly, AWC’s ‘’Q. And babies? A. and babies.’’ Piece exemplifies the power of artistic image and social change that emerged from the 20th century. This piece accumulated a good deal of controversy, and therefore more eminence. Picasso’s ‘’Guernica’’ and Shepard Fiary’s Obama portrait operate on a similar level. This type of distribution, offense, and general fascination with images make it difficult to separate the story of the image, from the image itself. This relationship between social change and the image enters the realm of social sculpture.
‘’’Elimination of Audience’’’ Allen Kaprow
Kaprow’s “Happenings” projects transitioned from staged shows to participatory public performances. The audience applied their background knowledge of theater structures and traditions. Kaprow felt this was the wrong context for his work. He made the projects collaborative, so that in order to experience the work, one creates the piece with Kaprow, rather than observing.
The collaborative element of the work changes relationships with the work. In traditional audience – theater – creator relationship, audience members risk very little, and bring a schema of context for what they will see. In a Happening, audience members take more of a risk, they are asked to surrender control to the instructions of the happening.

 === Week 4 ===

‘’’Public space in a private time’’’ Vito Acconci
Accoinci discusses the challenges of public space interactions. If a space is too expansive people never interact and remain in solitude, private space. If a space becomes cramped it, becomes a gathering space where people become one large organism. These are important things to think about in the creation of dialogical art. What is the optimal space to facilitate conversation? Too big and people remain isolated, too small and people loose touch with identity.
Clusters create a fulfilling democratic culture. When small groups start conversing individual participants feel more heard and more valued as an individual. Suzanne Lacey demonstrates this in ‘’The Roof is on Fire’’ where she instructs high school students to have conversations about law enforcement in parked cars. The conversation became insightful and rich, in part, because the students sat in parked cars in a cluster set up.
The challenge with clusters is that often, after established, they leave public space and move on to more private capitalist institutions. An alternative may be found in culture making instead of passive consumption if culture. These include things such as DIY, and the punk movement that Ted Puves desribes in ‘’What we want is free.’’

Participation"' Joseph Beuys
I am not comfortable with social practice thinkers describing knowledge as commodity. This definition becomes problematic when he discusses pedagogy, which is essentially the flow of knowledge. He does not complete the full pedagogical model, he described the student-teacher exchange, but neglected to mention the subject matter, the knowledge, being taught. Thinking about pedagogy is helpful for approaching social practice, since teaching is like a dialogue performance that has the frame of "lesson." I posted an example of David Hawkins pedagogical model, which many educational theorists refer to and adapt.
His concept of society being a large, collaborative project is interesting. All participants create different elements: culture, legislature, and governance. This concept supports Laurie Jo Reynolds' work in legislative art. Her canvas or stage is the legal system, she is trying to create government.
He describes creativity in very lofty terms, as an almost religious of spiritual experience, which as a creative person appeals to me. However, this definition does not describe the pure act of creating something. This entails connecting things from disparate domains. What Beuys refers to goes beyond raw creativity, but a communal creative practice, where people feel a part of something bigger than themselves. As an aspiring art teacher, I appreciate his regard of creativity as beyond pure psychology and something truly vital.

Week 3

Design School Bootcamp Bootleg
Right now, I am mainly interested in the empathy element in this article. I order to create something poignant, inspiring, and informative, one must find where their project fits. I need to find a void, a gap between what is being provided and what people need.
This article provides suggestions in finding this void. Using concrete observation, I can look and identify what is out there. The Derive taught me that I thought I know Bennington, but actually there is a lot of stones yet to be unturned.Interviewing with empathy will lead me more to the void. This technique involves looking for consistency and patterns in a narrative, asking truly open ended questions, and asking everything, even if you think you have someone pin down, ‘’’Public space in a private time’’’ Vito Acconci
Accoinci discusses the challenges of public space interactions. If a space is too expansive people never interact and remain in solitude, private space. If a space becomes cramped it, becomes a gathering space where people become one large organism. These are important things to think about in the creation of dialogical art. What is the optimal space to facilitate conversation? Too big and people remain isolated, too small and people loose touch with identity.
Clusters create a fulfilling democratic culture. When small groups start conversing individual participants feel more heard and more valued as an individual. Suzanne Lacey demonstrates this in ‘’The Roof is on Fire’’ where she instructs high school students to have conversations about law enforcement in parked cars. The conversation became insightful and rich, in part, because the students sat in parked cars in a cluster set up.
The challenge with clusters is that often, after established, they leave public space and move on to more private capitalist institutions. An alternative may be found in culture making instead of passive consumption if culture. These include things such as DIY, and the punk movement that Ted Puves desribes in ‘’What we want is free.’’

These readings compelled me look at other design innovations that make change in the social sector. I came across 2 books in Crosset, Design Revolution and The Third Teacher. Design rev. identifies objects with innovative design that empower people. Ranging from the Garameen micro finance program to education toys and clay water filters,many of these pieces empower and enable people to become more independant. The 3rd Teacher foucusses on the role of design in the classroom, how can we build a better enviroment for pedogogy. It discusses the restrictive chairs and the "no running" sighns that may interfere with tearning and alternative models, more condusive to learning.

If you have the books checked out, bring them to class! Robert_Ransick 11:50, 27 September 2011 (UTC)

Design Thinking
Tim Brown describes the process designers use when approaching a project, the methodology he describes seems like a useful model for creating social practice. Observing, interviewing and researching are key in design as well as social intervention; understanding movements and transactions in the town of Bennington will help me think about how I might intervene in the flow of the town. Much like the designers researched and understood the nursing staffs current routine, I must understand my audience/ participants experience. Brainstorming possible interventions after fully understanding a certain issue, is key in finding the most functional and sustainable concept. Testing prototypes also will help work out any kinks in a project.
My interest in design strongly demonstrates me desire to use my artmaking for something sustainable, and utilitarian. Design appeals to me in its direct change in people's lives.
IDEO Field Guide
This piece provides some useful information about researching and understanding issues in a community. Asking people to identify leaders, power balance dynamics, and factors that effect prosperity will help me as a social researcher ask people what they think about their community. These inquiries will unearth a good deal of resources, allies and conflicts to consider while researching to create a social practice.
When interviewing people, understanding what an interviewee cares about. When creating social change one needs to consider what members of the community value as important and neede. Similarly, noticing when an interviewee reacts unexceptionally to something, will lead an interviewer to some kind of opinion that the interviewer was not aware of. For example, before speaking to the woman at the grocery store, I never would have thought about the fact that pets would be effected by the flooding in Wilmington. I was surprised at how much she worried about it.
As much as believe that the innovative design practices I researched empower and make a positive difference, I waffled on the social practice-ness of such innovations. Many still fit into commodity and capitalist model and a big part of sp art is breaking art from commodity. Yet, the scope, practicality and sustainability of creating a physical object is undeniable.

Week 2

Social Acupuncture: Darren O'Donnell
Contemporary Art at a Crossroads
Popular theater has become redundant, thousands of theaters put up new spins of Shakespeare, but the audience/makers of theater lack an interest in the evolution of the media. Whit the emergence o global upper class art is becoming a commodity. Wide accesses to art via the internet conflicts with commodification. In response to avant garde artist have moved away from total revolution and over haul of society to engaging people in interaction. (Who's to say we can't engage people in interaction about revolution?)
"Micro Utopias"
One method of creating art from interaction is by creating a micro utopia, or a space where people interact free from capitalist exchange, similar to gift economy. These experiences tend to have a celebratory feeling, like the free apartment dinners, the People's Park, of the free meals in San Francisco. While an interesting statement, creating a micro utopia may not be a sustainable venture, but it does facilitate an interesting opportunity for people to think a bout interaction.
"Civic Engagement"
Raw interaction framed as art, but is mediated very little by artist.
The artist sets up a scenario, then hands it over to participants.
"Activist Art:" art with a political theme
"Art as Activism": activist actions framed as art
"Community Arts"
Artist shares skills to give expression to concerns of people in community.

Hi Abi, Good points above, but I wonder what you thought of the rest of the reading? Please expand. Robert_Ransick 21:10, 19 September 2011 (UTC)

Thoughts I feel O'Donnell's interest in art beyond commodity drives a lot of what interests me in the world of social arts. A beautiful painting can be bought and sold, without social capitol, but as an artist I feel that art has the potential to provide more. As the creator of a work, I gain personal fulfillment, bringing others into the experience and sharing the joy would become more fulfilling. Much like gift economy, my initial reaction to micro-utopia was to dismiss it as idealistic, but then I realized that that social capitol would govern the utopia and create natural balance. In "What we Want is Free" the open apartment dinners and other pot-luck style events, participants tend to attend this event with a dish because of social capitol.
Artists can engage people in many different models, but the thread of pedagogy remains constant. An artist, conceptualizer, or mobilizer generates and initiates a diolauge about a topic. Works where people participate, multiple pedagogies occur. In cases such as Gustavo Artigas' Rules of the Game where he directed 2 mexican soccer teams and 2 american basketball players to play on the same court. Here, Artigas engages the 4 teams in a physical dialogue about how best to accomplish the goal in the piece. The viewers enter the dance, and the players build an idea about Mexico- US relationships.
The ideological transition from the avant-garde's drive for total revolution to social arts focus on interaction and dialogue resonates me. Transferring from restructuring institutions to connecting with individuals. The theme of interaction democratizes art; while top down feels impersonal, bottom up social change feels more satisfying, because an artist can experience his or her work make difference.

Week 1

A HIstory of the Social Web
This article changed my thinking about the Internet. Scholtz describes events in the history of the internet as a collaborative project, where members of the internet community create and shape the experience.

Similar to community art models, some sites such as blogger, podcasting programs, and deviant art provide people with creative space. These sites create a space for rich dialogue similar to real time social practices that Kester describes in Conversation Pieces, or Purves’ description of the crowd at the crash worship concert. Jay Rosen’s quote illustrates this exchange, “Think of passengers on you ship that get a boat of their own. The writing readers. The viewers who picked up a camera. the formally atomized viewers who with modest effort can connect with each other and gain the means to speak-to the world, as it were.”

As we continue using the internet as a creative and communal space more, society becomes unbalanced. Scholtz writes “Kevin Kelly publishes ‘we are the web’ in ‘Wired’ magazine, in which he describes a world manufactured by users , a world in which many people, when divorced from the machine, will not feel like themselves, they will as if ‘they’ed had a lobotomy.” This predication, while seemingly outlandish, demonstrates the responsabilety of someone opening up individuals to diolauge. Ethics regarding using people in their art projects.

Conversation Pieces
Conversation Pieces focuses on art that generates dialogue. Kester provides the example of The Roof is On fire, where high school students in Oakland, CA parked cars and disused media stereotypes of people of color. National news media was invited to over observe and record the happening. This project was orchestrated by Suzanne Lacy.
This undertaking generated conversation in two ways, the students in dialogue, and the media reporting on the event. The performative nature of the piece brought it from a discussion between individuals and a statement for the entire community. Revealing that young people are concerned with their relationship with their community. This action also moved beyond the student sphere and police joined the conversation.
In very few circumstances would this issue been addressed. The Roof is on Fire provided a venue or space for the conversation to occur. The artist then passed on responsibility and control to those in the conversation.
What we Want is Free by Ted Purves
Purves opens with two concepts: a grift based society and Detounrment. A gift based society creates a sense of social obligation, almost a social economy of gifts. These exchanges preserve relationships by maintaining a sense of obligation. Detounment is turning the expressions of the capitalist system against itself; he discusses using this tool to expose the reality of gift transactions to participants. This concept combines satire and mimicry. He discusses the increase in capitalist space and a decrease in public space and different social art interventions that act as detourment.
One compelling social practice or movement of social practices Purves mentioned was DIY culture. This movement engages many people in creativity. The concept that culture is created and not consumed turns the act of making culture into a conversation. This culture furthers itself in the improvement of internet communication technologies.
Strengthening and building communities via practices such as open apartment dinners, potlucks, zine swaps and craft events brings people together. I have experienced such events and made new friends and thoroughly enjoyed myself. While I encountered very little ground-breaking innovations on my DIY excursions, they are a delightful alternative to other, more mass consumerist pastimes. It is extremely stimulating to participate in a culture of making, rather than consuming.
When figuring out how to earn money, I thought about what resources I could use that were free, or cheap. I realized apples were a pretty assessable resource, they were literally growing off trees. I also could use a crock pot. I bought mason jars, I picked apples, and I smuggled more apples and other supplies and made apple sauce. A really good apple sauce and sold it for $3.50. I still have extra if people want it. I enjoy canning and want to keep doing canning. I want to get labels that say Abby's Awesome Sauce on them.

Collaboration with Fei

The Plan
We go into town, we seek people that do not seem rushed and strike up a conversation with them.
We then present our project: "We are Bennington College students, and we are doing a social research project about first impressions, do mind if we ask you some questions?"
If the participant confirms, we ask "Can you describe your first impression of us?"
One of us writes down location, the persons impression, a profile of the person, any behavior observations.
We veiw the first conversation as a prototype and adjust our procedure from what we learned.
Interaction 1: location: Bennington Bookstore
Fei and I feel hesitant so we just say hi to a slightly over middle aged woman. She asks us for help in understanding a train chart in a travel book. After chatting, we introduce ourselves as Bennington students, and we introduce the project.
She responds that we seemed friendly, non obtrusive, people she would not mind talking to. She said she would rather just chat without the note book in my hands.
She was from Arlington VT and was very interested in Bennington and wanted to know if there would be an event for the public to learn about the school. We agreed to let her know a public event happened on campus and exchanged contact info.
Interaction 2: Location: Gamer's Grotto
We identified a father sitting next to his daughter; he did crosswords while she played a computer game. We said hello explained that we were doing social research. He agreed to answer, because "We asked in such a friendly way."
We learned that he lives within walking distance to the grotto, and goes with his daughter to use the free internet.
He could verbalize his first impression of us; he agreed with us that it was not a question people normally asked him.
Conversation did not flow as well as in interaction 1, probably because the conversation did not develop organically. If we chatted with him in a more natural way before springing this question on him he might have been less distracted by how unusual the interaction was.

Talking To Strangers

Encounter One: Whitman's Hay and Feed
I was not in the hay and feed store seeking conversation, it just happened as it should at a local garden supply store. I spoke with one of the shop's employees while he stocked shelves. We mostly talked about gardening and how this coming winter would be cold and that crop yields were unusual this year. The early frost would lead to more collared greens, if the ground does not freeze too early. The harsh winter is particularly bad for horses and gourds. We then moved on to discussing the merits of nearby campgrounds, and that it is important to clean up after your self in the wilderness so that future generations can enjoy the wilderness. He also allowed me the rare opportunity of holding one of the kittens. (there is a pet section) I found out that the Whitman's Kittens are mostly rescues.
Encounter Two: Price Chopper
I was checking out my groceries and observed that the woman in front of me in line had a lot of dog food in her cart. Naturally, I asked if she had a dog and what kind, and we got to chatting about how great it is to have animals. She attended college for music, but is currently making a career change to work with animals. We discussed how impotent it is to grow up with animals. Concerns about the animals displaced by the hurricane, the animal shelter in Shaftsberry, and the the therapeutic riding stable near Bennington came up.


On my wonder, I began thinking about the main streets building in terms of their original intention and their current occupation. The town feels transitional. I was drawn to the Fiddleheads art shop building; it used to be a bank, complete with iron bars and a truly impressive safe and elevator. In different shop windows I noticed a town art project: bikes repurposed to become whimsical art, decorated with bones, flowers, and paper cranes. Repurpose resonated in my mind; transforming the way something obsolete is used.
Drawn to shops, thinking about purchasing things, smiling, I encounter something incongruous in myself. I feel modern capitalist habits are not sustainable, yet I indulge in them with enthusiasm. Truthfully, there are days when I would choose retail therapy over wilderness therapy.
I am reminded of walking the dog in my hometown; I crave the ocean. I start looking down side streets for an infinite and ongoing horizon, see mountains instead.


Broken City Lab: project in Windsor, Ontario, bringing social practices in art to post-industrial city. http://www.brokencitylab.org/
Here is a pretty organized diagram of the pretty standard pedagogical model. It is based off of David Hawkins' essay I, thou, it
The graphics are silly but the first diagram is a good visualization of the pedagogical flow.
Here is information about an exhibition about the role of design in developing nations
New Haven Youth Activist Program: http://blog.youthrightsmedia.org/

Here's some information about how occupy New Haven lead to devloping the Free Store and a community garden. Translating ideal into action.

Jackie Sumell prsentation links

Official site: http://www.aequalsaght.org/
video: http://www.youtube.com/watch?v=1MRB1YUexbo
The house that Herman Built
Official site: http://www.hermanshouse.org/doc.htm
Video: http://grittv.org/2010/04/17/got-docs-the-house-that-herman-built/
NYT article: http://www.nytimes.com/2007/03/11/arts/design/11colin.html?pagewanted=all
Bacon Instead
Official site: http://www.baconinstead.org/
Community: http://www.baconinstead.org/community/