"The Reed-Kellogg diagram is a tool of the classroom and of the textbooks that codify the rules for its production. But grammar textbooks share a problem similar to the one Thomas Kuhn noted for science textbooks: they tend to efface the history of their subject. Indeed, grammar textbooks are far more ahistorical that science textbooks. The average science textbook will contain some history, however Whiggish. There will be at least a cursory mention of the scientists who formulated the theories under discussion, some suggestion that scientific knowledge is subject to change and accretion. Grammar, however, comes to students as an abstract whole. The sources from which the textbook authors derived their accounts normally go unacknowledged. There is no sense of grammar as a theory—or, more precisely, a constellation of competing theories—with its own intellectual history."
(Karl Hagen, 17 October 2015)
"Studio-based instruction and learning has become a hot topic in K-12 education today. Knowing the origins of studio-based learning in education, as well as in art and architectural education can provide us with a deeper understanding of the purposes and goals of studio-based methods. Much can be gained by educators to the turn of the century for guidance in translating the new popular studio-based learning model developed in architectural education."
(Jeffery A. Lackney, 2 August 1999)
"Ada Lovelace was a most unlikely computer pioneer. In this film, Dr Hannah Fry tells the story of Ada's remarkable life. Born in the early 19th century Ada was a countess of the realm, a scandalous socialite and an 'enchantress of numbers'. The film is an enthralling tale of how a life infused with brilliance, but blighted by illness and gambling addiction, helped give rise to the modern era of computing.
Hannah traces Ada's unlikely union with the father of computers, Charles Babbage. Babbage designed the world's first steam-powered computers - most famously the analytical engine - but it was Ada who realised the full potential of these new machines. During her own lifetime Ada was most famous for being the daughter of romantic poet Lord Byron ('mad, bad and dangerous to know'). It was only with the advent of modern computing that Ada's understanding of their flexibility and power (that they could be far more than mere number crunchers) was recognised as truly visionary. Hannah explores how Ada's unique inheritance - poetic imagination and rational logic - made her the ideal prophet of the digital age."
Exhibition: "Really Useful Knowledge", 29 October 2014 – 9 February 2015 / Sabatini Building, Floor 1, Museo Reina Sofía, Madrid.
"The notion of 'really useful knowledge' emerged at the beginning of the 19th century alongside the workers' awareness of the need for self–education. In the 1820s and 1830s, working class organisations in the UK introduced this phrase to describe a body of knowledge that encompassed various 'unpractical' disciplines such as politics, economy and philosophy, as opposed to the 'useful knowledge' proclaimed by business owners who had previously begun to invest more heavily in their companies' progress through financing workers' education in 'applicable' disciplines like engineering, physics, chemistry and mathematics. In this reference to the long–forgotten class struggles of early capitalism, the title of the exhibition suggests an inquiry into 'really useful knowledge' from a contemporary perspective.
The exhibition endeavours to position the notion of critical pedagogy as a crucial element in collective struggles, and explore the tension between individual and social emancipation through education with examples that are both historical and current, and their relation to organisational forms capable of leading unified resistance to the reproduction of capital. In doing so, the exhibition highlights the collective utilization of public resources, action and experiments, either forgotten or under threat of eradication, taking the museum as a pedagogical site devoted to the analysis of artistic forms interconnected with actual or desired social relations."
(Museo Nacional Centro de Arte Reina Sofía)
"Gilbert and Sullivan's fifth Savoy Opera, Patience (1881), is a shining example of the critical role of satire in popular culture, and a most important record of how many self–righteous upper middle class contemporaries viewed fringe schools of thought and pop culture during the dissipation of the Evangelical church. The operetta's premise is that Reginald Bunthorne and Archibald Grosvenor––characters reputedly based upon Oscar Wilde and Charles Swinburne respectively, although the actor who originally played Bunthorne drew on Whistler––are shams as bogus as the aesthetic movement that they embody."
(William R. Terpening, 1998, Victorian Web)