Museum in a Hat

(*Museum in a Hat refers to a performance by the artist Robert Filliou during which he would pull things out of a hat and give the objects to other performers or onlookers. The objects were in constant transition as was the museum. Filliou had a profound influence on the avant-garde movement in Canada during the late 1960’s and early 1970’s. Filliou’s performance was described to me by Hank Bull, one of the founders of  The Western Front an alternative artist-run centre in Vancouver, Canada which will be celebrating its 38th anniversary in 2011. 

“I am interested in performance as a double-jointed anti-genre in perpetual crisis.”[1] The speaker is Judy Radul.  

“…these voices [with reference to a performance at The Western Front entitled, One Fine Evening] spoke to  as much as they spoke through  the performers. Pre-recorded voices ordered them about, slogans sprouted from their mouths incongruously, speech was accented, patriarchal, computer generated, motivationally enhanced, theoretically implanted, and, in general, authorially skewed.”[2]

Vancouver and its Cultural Landscape

a

sustaining vision of

the intricate palimpsest-of-relationships

supporting every living/dying

thing ought to inform an enlightened polis;

to imagine oneself interacting

with everything (imaginable) at a strategic

moment: pen, brush, spear to hand

is simply what it’s always been about [3]

This poem by Roy Kiyooka exemplifies many of the themes which have been at the heart of the extraordinary artistic output of The Western Front (hereafter referred to as WF) over the last twenty-four years. Kiyooka plays with the idea of the palimpsest both as a metaphor of erasure and as a way of keeping history present through the traces of our culture’s work with ‘pen, brush and spear’. Nothing ever disappears in this processing of events and of history. Cultural activity builds on the past, even as that past changes with every artistic interpretation of it. Kiyooka was part of a large group of artists, performers, poets and intellectuals who shaped the modernist movement in Vancouver in the 1960's and early 1970's. It was out of this activity that the Western Front was created in 1973. In addition to Kiyooka, Robert Filliou and Ray Johnson were formative influences on the WF. “Ray Johnson visited Vancouver once briefly in 1969 as a guest of the UBC Fine Arts Gallery for an international exhibition of visual/verbal concrete poetry and correspondance art, entitled, Concrete Poetry — an exhibition in four parts which also included contributions by Robert Filliou and the internatiional Fluxus community. Filliou’s first visit was in the summer of 1973 when he came as a guest of the newly founded Western Front Society. The work of both artists, often deliberately ephemeral, used puns, riddles, events and performances to convey ideas….For Filliou, research was the door through which anyone could enter and participate in the creative process. Artists could think of themselves as researchers influencing the culture.”[4]

History and art, the ability to imagine the impossible, to make the real and the imaginary mix, to make the everyday a work of art and to make art a part of the everyday were not just thematic explorations for Kiyooka, Filliou and the many other major artists and performers who came to the WF in the early days. They were at the heart of their sensibilities as artists. The transformation of art from an object-oriented enterprise to a lived experience for artist and community alike is what has defined the WF throughout its history. In some respects, the WF was developed as a community centre with both a service and an artistic mandate. To this day, its facilities are open to booking from members of the community and its festivals and events are attended by a diverse and largely heterogeneous group of people. The WF has a strong sense of the local with an equally profound understanding of the international art scene and a connection into worldwide activities which it has imported into Vancouver on a regular basis. 

If you are interested in reading the rest of this essay, please contact me at r bur nett at ecuad dot ca  

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[1]Judy Radul, “You Don’t Say: Voices from the Incongruous Outside,” Catalogue for the Exhibition/Performance, One Fine Evening, Curator, Eric Metcalfe, The Western Front, Vancouver (1996), n.p.

[2] Ibid.

[3] Roy Kiyooka, “Notes Toward a Book of Photoglyphs,” Capilano Review , Second Series: 2 (Spring 1990): 80 quoted in The Verbal and the Visual, Collapse  #2, Vancouver Art Forum Society (1996): 55.

[4] Michael Morris and Vincent Trasov, “Letter from Berlin,” in Robert Filliou: From Political to Poetical Economy, Exhibition catalogue, Morris and Helen Belkin Art Gallery, 1994, pp.72-73.

W/Here: Contesting Knowledge in the 21st Century

W/Here is a symposium organized by Emily Carr University of Art and Design and the European League of Institutes of Art. The conference will be taking place from December 7-9th, 2011. 

Programme

“W/Here: Contesting Knowledge in the 21st Century?” will include perspectives from artists, designers, musicians, educators, administrators and cultural workers who have deep commitments to the role of Higher Arts Education. Over the three days at both emily carr university and other cultural locations around Vancouver the Symposium will address the following themes:

Have We Ever Been Modern | The Institutions of the 21st Century

Dispersed Learning | The Students of the 21st Century 

DIY Open Source Culture and Learning Cultures | Leadership in the 21st Century

MOBILE WORKSHOPS A series of mobile workshops have been planned, with groups of 20 participants visiting a range of Vancouver’s cultural organisations, to experience how these themes manifest in the configurations of arts organisations today.

New Approaches to Applied Masters Degrees | Masters in Digital Media, Great Northern Way

First Nations Culture and the Digital Turn | Museum of Anthropology

A Creative Commons for the City | W2 Community Media Centre

Alternative Models of Creation | Progress Lab 1422

Design Thinking

This video was developed and created by Bree Galbraith, a Design student at Emily Carr University.

Dr. Ron Burnett Kinetic Typography for Current 2011 from The Design° on Vimeo.

Virtual/Real/Virtual (3)

(This is the third and final part of a presentation to DIGIFEST in Toronto in late October of 2011)

"An Ad Hoc Committee of the National Association of Research in Science Teaching
(NARST) stated in 2003 that there are three “important characteristics of learning… First, learning is a personal process, second, it is contextualized, and third, it takes time…Learning occurs when people reconstruct meaning and understanding; a different way of thinking, perhaps, or a different way of responding to an idea or event. Learning that occurs today depends on yesterday’s learning and is the foundation for tomorrow’s learning. The cumulative, iterative process of learning emphasizes the importance of time.”. Our own research in this area reinforces the importance of iteration." (Susan Stocklmayer, Public awareness of science and informal learning - a perspective on the role of science museums, published by the National Academies in the US)

Learning takes time and follows many pathways. A good teacher can create a map with destinations, but the routes have to be developed by the students. Those routes may meander for a while because the iterative process is not the same for everyone. Knowledge and information can be shared along the way. Wisdoms can be imparted through discussion and interaction, but these travels will always be characterized by the richness of the unexpected sometimes colliding with the expectations of teachers and other times producing engaged and engaging dialogue.

The tyranny of schedules in schools is that they artificially 'locate' learning at a time and place that may not be convenient for everyone. The schedule cannot account for iterative processes because it generates a linear type of learning that goes against the essence of learning experiences. We have created schools where the mapping from experience to learning is not fluid enough to match the needs of a new generation.

Iteration, non-linearity, informal learning. These are all characteristics of networked environments which by their very nature encourage what has been achieved by the Khan Academy for example. Here is one individual without any resources other than his own skills and intelligence, who decided to create a learning environment through video demonstrations. He has 2600 hundred courses up at this site and receives thousands of learners every day. Students use the site to move at their own pace. Khan is pointing to something very important. Courses and their contents can now be customized to the needs of learners and learners can choose when and where to learn. 

"To summarise: learning rarely, if ever, occurs and develops from a single experience. It is cumulative, emerging through diverse experiences. It is a dynamic, never-ending, and holistic phenomenon of constructing personal meaning. Much of what people come to know about the world, including the world of science content and process, derives from real world experiences within a diversity of appropriate physical and social contexts, motivated by an intrinsic desire to learn." (Susan Stocklmayer, Public awareness of science and informal learning - a perspective on the role of science museums, published by the National Academies in the US)

So, it seems clear to me that the digital age is emphatically about informality — learning through multiple means in multiple ways and in many different contexts. A key question remains. Can all of this informality be structured? Should it be? How can the dots be connected between learning that is driven by personal concerns and areas like mathematics and writing that need some formality in order to be mastered? Must all learning be governed by choice? Or are there certain basic subjects that require mastery through more formal strategies?

I made the point earlier that digital experiences encourage and support the creation of imaginary environments and imaginary connections. This is not a pejorative comment. Rather, what is exciting about these informal spaces for learning is that they are so imaginative, so full and rich with many choices and many possible avenues of exploration. Informal learning then combines with imaginative projection to allow learners and the public to engage with their ideas in many different ways. The challenge for schools is how to frame and harness these various and sometimes different learning strategies. Teachers need to be as adept as learners in a new and engaged multi-disciplinary ecosystem.

Epilogue (The 21^st Century Student)

I will call him Anthony. He arrived in Vancouver with a trunk full of DVD's. He uses SMS and a variety of social networking tools from Twitter to Facebook to communicate with friends and family. He uses a small video camera to record his everyday life and edits the output on a laptop and then uploads the material onto YouTube.

He is adept at video games, though they are not an obsession. Smart phones are expensive, but he finds the money and uses his phone constantly. This sounds familiar; an entire generation working creatively with Facebook and Vimeo and Youtube and Flckr. He loves old movies, hence the DVD's. He knows more about films from the 1970's and 1980's than most film historians. He can quote dialogue from many films and reference specific shots with ease. He uses his expertise in editing to comment on the world and would prefer to show you a short video response to events than just talk about them.

Cultural analysts tend to examine Anthony's activities and use of technology as phenomena, as moving targets which change all the time, just as they saw pop music in the 1960's as a momentary phase or like their early comments on personal computers which did not generally anticipate their present ubiquity.

However, what Anthony is doing is building and creating a new language that combines many of the features of conventional languages but is more of a hybrid of many different modes of expression. Just as we don't really talk about language as a phenomenon, (because it is inherent to everything that we do) we can't deal with this explosion of new languages as if they are simply a phase or a cultural anomaly.

What if this is the new form and shape of writing? What if all of these fragments, verbal, non-verbal, images and sounds are inherent to an entire generation and is their mode of expression?

Language, verbal and written is at the core of what humans do everyday. But, language has always been very supple, capable of incorporating not only new words, but also new modalities of expression. Music for example became a formalized notational system through the adaptation and incorporation of some of the principles of language. Films use narrative, but then move beyond conventional language structure into a hybrid of voice, speech, sounds and images.

As long as Anthony's incorporation of technology and new forms of expression is viewed as a phenomenon it is unlikely that we will understand the degree to which he is changing the fundamental notions of communications and learning to which we have become accustomed over the last century.

Anthony however has many problems with writing. He is uncomfortable with words on a page. He wants to use graphics and other media to make his points. He is more comfortable with the fragment, with the poetic than he is with the whole sentence.

He is prepared to communicate, but only on his own terms.

It is my own feeling that the ubiquity of computers and digital technologies means that all cultural phenomena are now available for use by Anthony and his generation and they are producing a new framework of communications within which writing is only a piece and not the whole.

Some may view this as a disaster. I see Anthony as a harbinger of the future. He will not take traditional composition classes to learn how to write. Instead, he will communicate with the tools that he finds comfortable to use and he will persist in making himself heard or read. But, reading will not only be text-based. Text on a page is as much design as it is media. The elliptical nature of the verbal will have to be accommodated within the traditions of writing, but writing and even grammar will have to change.

I have been talking about a new world of writing that our culture is experimenting with in which conventional notions of texts, literacy and coherence are being replaced with multiples, many media used as much for experience as expression. Within this world, a camera, or mobile phone becomes a vehicle for writing. It is not enough to say that this means the end of literacy as we know it. It simply means that language is evolving to meet the needs of far more complex expectations around communications.

So, the use of a short form like Twitter hints at the importance of the poetic. And the poetic is more connected to Rap music than it is to conventional notions of discursive exchange. In other words, bursts of communications, fragments and sounds combined with images constitute more than just another phase of cultural activity. They are at the heart of something far richer, a phantasmagoria of intersecting modes of communications that in part or in sum will lead to connectivity and interaction and to new forms of learning and knowledge acquisition.

Part 1

Part 2

Virtual/Real/Virtual (2)

(This is the second part of a speech given in Toronto at DIGIFEST)

Virtual spaces contribute to what Ronald Deibert and Rafal Rohozinski have described as ‘dynamic density’, a lovely metaphor that describes the intense effects of all the multiple levels of communication that occur in cyberspace environments. Digital ecosystems operate at so many levels that they are almost impossible to control and regulate. A further challenge is that it is very difficult to see into and through all that density and to appreciate where the horizon begins and where it ends. This is why we have tended to see the world today through the lens of globalization which is ultimately an all too simple metaphor to describe the overall complexities of networked cultures, the manner of their interactions and the simultaneous impulse to connect and disconnect.  

It appears as if we can maintain all these forms of disembodied interaction, when in reality the complexity I am describing drives people to seek physically defined experiences in real spaces.  

Try for example to imagine Twitter as the only means of communications between yourself and your family and friends. Or imagine Facebook as the only interface between yourself and the world.

The attraction of virtual spaces is both their convenience and the imaginary environments we create with them. I will return to this point in a moment.

One of the great benefits of this density is its unpredictability. This is what makes political dictatorships nervous. It is impossible to draw a single or simple line from what people say in cyberspace to what they do. It is very hard to anticipate the outcomes of discussions that are populated by hundreds and sometimes thousands of people. Most importantly, cyber environments don’t easily map onto conventional political processes let alone authoritarian ones. 

The Argument

I have been discussing the shifting landscape of digital environments and the implications and outcomes that are produced both culturally and politically by the density of networked connections.

Let me now turn to learning and education within these contexts.

An editorial in the April 8^th, 2010 edition of Nature raises some important issues about student learning experiences in the sciences. [The] "evidence strongly suggests that most of what the general public knows about science is picked up outside school, through things such as television programmes, websites, magazine articles, visits to zoos and museums — and even through hobbies such as gardening and birdwatching. This process of 'informal science education' is patchy, ad hoc and at the mercy of individual whim, all of which makes it much more difficult to measure than formal instruction. But it is also pervasive, cumulative and often much more effective at getting people excited about science — and an individual's realization that he or she can work things out unaided promotes a profoundly motivating sense of empowerment." (Nature 464, 813-814)

The same argument can be made for many other disciplines. The relationship between informal and formal learning is characterized by extreme fuzziness. Classrooms and formal lectures may well be the last place in which empowered and empowering learning takes place. The formal schedules of schools, departments divided into sometimes highly contested disciplines, and the credit system all discourage the value and importance of informal learning.

In fact, learning informally is at the heart of how people discover new things and new ways of understanding the world. For example, a visit to a museum combines the experiences of viewing with the challenges of interpretation. It would be difficult to summarize or quantify the relationships that viewers developed with Mark Rothko's work at a recent retrospective at the Tate Modern in London. Something was happening, although it was difficult to know what. Many visitors sat and stared at the paintings for quite a while. Were they wasting time? Or were they exploring the canvases, their brilliant colours and careful shading?

Part Three 

The first part of this series can be found here.

Virtual/Real/Virtual (1)

(This is a written version of a speech given in Toronto in October at DIGIFEST)

Prologue

The age of virtualization is changing. When the digital adventure began in the early 1980’s, the future of computers and hence the digital age was unclear, even fuzzy. Today, after 30 years of experimentation it is pretty clear that there have been some tremendous successes and also some clear failures.

I want to approach the issue of virtualization with great care. And, my approach will be framed by a deep concern for what is happening to our learning environments.

So, let me start by talking about space, that is, architectural and public space. The recent and continuing protests that began in New York and have spread worldwide are important indicators of what is happening to the generation that has been most influenced by the technologies we now take for granted.

Keep in mind, that technologies that virtualize break down as many barriers as they build up. So, when protestors get together in a park and create a variety of methodologies to develop consensus, to manage their affairs, to provide services, they are engaging in the type of face to face contact that completely transforms not only their perceptions of each other, but also their perceptions of the world. Virtual encounters inside and through screen based technologies permit exchanges of a similar sort, but these are qualitatively different from what is happening in Zucotti Park or Vancouver or Toronto.

The need to explore embodied relationships suggests that the increasingly complex mix of the virtual and the real will be measured against our experiences of each other in the real world and not vice versa.

The protestors in New York and elsewhere are using what to them is a novel approach to the discussions that they are having with each other. In a version of broken telephone, they are communicating their ideas to each other through individual repetition. People are transmitting the core ideas behind the protests using an oral tradition of storytelling. This is being done to strengthen their resolve and to personalize the relationships that they have with each other, but also to transform each conversation into a memorable one. In a period of history when conversations are fleeting and efforts to hold onto our memories are dictated by reminders, phones and computers, orality is both central and ephemeral to these protests. 

So it is ironic that in the Facebook age when short form communications dominate, that the protestors have turned to oral traditions that are thousands of years old, a mixture of the Greek polis and the Roman square.

Virtual communications have always seemed an efficient way of promoting interactions across numerous boundaries and this has challenged conventional forms of communications. The irony is that the virtual cannot exist without the real. The mistake we have been making has been to celebrate the virtual as an end in itself. For example, we talk about video games without talking enough about video gamers. We discuss Facebook through the interface and restrictions it provides and not about the potential shifts in human relations generated by  virtual interactions.

And, this mistake will not be very easy to overturn. Virtual spaces are just too attractive and the ease of use, the genuine feel and form of interactions, the potential to be a broadcaster with an audience, however small is a very powerful attraction. 

Part Two can be found here.