"Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the 20th century. In fact, the key hypothesis of our Radical Pedagogy research project is that these experiments can be understood as radical architectural practices in their own right. Radical in the literal meaning from the Latin radice, as something belonging or relating to the root, to its foundations. Radical pedagogies shake foundations, disturbing assumptions rather than reinforcing and disseminating them. This challenge to normative thinking was a major force in the postwar field of architecture, and has surprisingly been neglected in recent years. ...
Architectural pedagogy has become stale. Schools spin old wheels as if something is happening but so little is going on. Students wait for a sense of activist engagement with a rapidly evolving world but graduate before it happens. The fact that they wait for instruction is already the problem. Teachers likewise worry too much about their place in the institutional hierarchies. Curricular structures have hardly changed in recent decades, despite the major transformations that have taken place with the growth of globalisation, new technologies, and information culture. As schools appear to increasingly favour professionalisation, they seem to drown in self-imposed bureaucratic oversight, suffocating any possibility for the emergence of experimental practices and failures. There are a few attempts to wake things up here and there but it's all so timid in the end. There is no real innovation.
In response to the timidity of schools today, the Radical Pedagogy project returns to the educational experiments of the 1960s and '70s to remind us what can happen when pedagogy takes on risks. It's a provocation and a call to arms."
(Beatriz Colomina with Esther Choi, Ignacio Gonzalez Galan and Anna-Maria Meister, 28 September 2012, The Architectural Review)
1). Radical Pedagogy is an ongoing multi-year collaborative research project by a team of PhD candidates in the School of Architecture at Princeton University, led by Beatriz Colomina and involving seminars, interviews and guest lectures by protagonists and scholars. The project explores a remarkable set of pedagogical experiments of the 1960s and '70s that revolutionised thinking in the discipline. Each student is working on one of these experiments and collectively mapping the interconnections and effects of these experiments towards a major publication and exhibition.
Fig.1 Tournaments in the Course ‘Culture of the Body', at the Valparaíso School, 1975. Courtesy of Archivo Histórico Jose Vial, Escuela Arquitectura y Diseño, Pontificia Universidad Católica de Valparaíso
"The Knight Ridder Information Design Lab is developing a newspaper interface for the tablet device. The tablet newspaper draws on the strengths of print and on the strengths of electronic forms. It is both browsable and searchable, both broad-reaching and customizable. It offers pages with story abstracts linked to more detailed stories, background material, photos, sound, and video. People can ran read as deeply or as casually as they want. Stories are no longer limited to 'news hole,' the space allotted to editorial content after press configurations and advertising have been considered.
The tablet newspaper includes editorial content and advertising, both important components of a local information package. Like editorial content, advertising can have many layers, and can be searched and sorted, as well as browsed. Additionally, ads can have transaction hooks, so that readers can make reservations or purchases."
(Teresa Martin, 1995, CHI Conference Proceedings [http://www.sigchi.org/chi95/])
Thursday 07 and Friday 08 March 2013, Open, 20 Bank Plain, Norwich, Norfolk, NR2 4SF
"A two day symposium organised by Norwich University of the Arts that will explore the relationship between print and digital, and the coexistence of media in a wider sense; how they combine, and how they provide unique opportunities.
As the design industry embraces dramatic changes in technology, the Cowbird Symposium will look at graphic design as an output, a practice and a profession, exploring the relationships between print and screen-based communication. Guest speakers, all leading thinkers and practitioners themselves, will be invited to comment on the future of the distributed text – the book, magazine, newspaper and poster, as well as the challenge and opportunity afforded by new technologies, tablets, e-readers, smart phones, augmented reality, social media, digital displays, and new practices, crowdsourcing, coding, data sharing, and social reading."
(Norwich University of the Arts)
"For many young people social networks such as Facebook are an essential part of their student experience. Other web-based, interactive services like Wikipedia and YouTube are also an important facet of everyday student life. New technologies have always been scrutinized for their capacity to support education and, as social technologies become more pervasive, universities are under increasing pressure to appropriate them for teaching and learning. However, the educational impact of applying these Web 2.0 technologies is uncertain.
Using a Foucauldian perspective, my qualitative study explores the networked experiences of disabled students to examine how dis/ability difference is ascribed and negotiated within social networks. Data comprises 34 internet-enabled interviews with 18 participants from three English universities. Interviews incorporate the internet to expand opportunities for discussion, observation and analysis. Mobile broadband, a remote desktop viewer and screen capture have been flexibly applied together to ensure an accessible interview situation and recognise students' preferences and circumstances. Data is analysed using discourse analysis, with an attention to context framed by activity theory.
Disabled students' networked experiences are found to be complex and diverse. For a proportion, the network shifts the boundaries of disability, creating non-disabled subjectivities. For these students, the network represents the opportunity to mobilise new ways of being, building social capital and mitigating impairment.
Other participants experience the network as punitive and disabling. Disability is socio-technically ascribed by the social networking site and the networked public. Each inducts norms that constitute disability as a visible, deviant and deficit identity. In the highly normative conditions of the network, where every action is open to scrutiny, impairment is subjected to an unequal gaze that produces disabled subjectivities. For some students with unseen impairments, a social experience of disability is inducted for the first time.
As a result, students deploy diverse strategies to retain control and resist deviant status. Self-surveillance, self-discipline and self-advocacy are evoked, each involving numerous social, cognitive and technological tactics for self-determination, including disconnection. I conclude that networks function both as Technologies of the Self and as Technologies of Power. For some disabled students, the network supports 'normal' status. For others, it must be resisted as a form of social domination.
Importantly, in each instance, the network propels students towards disciplinary techniques that mask diversity, rendering disability and the possibility of disability invisible. Consequently, disability is both produced and suppressed by the network."
(Sarah Lewthwaite, Slewth Press)
"The Future of the Book is a design exploration of digital reading that seeks to identify new opportunities for readers, publishers, and authors to discover, consume, and connect in different formats.
As more people consume pages in pixels, IDEO designers wondered why we continue to discover and consume the written word through the old analog, page-turning model. We asked: what happens when the reading experience catches up with new technologies?
The team looked at how digital and analog books currently are being read, shared and collected, as well as at trends, business models and consumer behavior within related fields. We identified three distinct opportunities - new narratives, social reading with richer context, and providing tools for critical thinking - and developed a design concept around each one.
The first concept, 'Alice,' turns storytelling on its head by making narratives non-linear and participatory. With Alice, the story world starts bleeding into the everyday life of the reader. Real-world challenges, like acting on a phone call from the lead character, or participating in photo based scavenger hunts, unlock new aspects of the story, and turn other readers into collaborators or competitors. Alice is a platform for authors to experiment with narratives, to allow their stories to transcend media, and to engage fans in the storytelling process.
The second concept, 'Coupland,' makes book discovery a social activity by allowing readers to build shared libraries and hear about additional texts through existing networks. Coupland makes it easy for busy professionals to stay on top of industry must-reads. Businesses can assign book budgets to their employees and build collective libraries through a group-licensing model. Personal recommendations, aggregation of reading patterns, and the ability to follow inspiring individuals and groups help ensure that Coupland users always are tapped into the latest essential content within and outside of the organization.
The third concept, 'Nelson,' connects books to commentary, critique, and contextual information, letting readers explore a topic from multiple perspectives. Nelson reinforces the role of books as carriers of knowledge and insight. Readers can explore polarizing material and see whose word currently has the greatest impact on popular opinion and debate. Layers of connected commentary, news, and fact-checking augment the core book content - providing greater context and encouraging debate and scrutiny.
Each concept features a simple, accessible storytelling format and a particular look and feel. We believe that digital technology creates possibilities, so our solutions truly adapt to the new environment, rather than emulate analog qualities onscreen. For example, we resisted any temptation to move books closer to the bite-sized character of other digital media, because longhand writing encourages immersion (deep reading) and reflection."