"The riveting story of fleeing war-torn Vietnam for the safety of Australia, winner of the Audience Award in the Australian Shorts section at the Human Rights Arts Film Festival."
"Then, one night, I was watching TV and happened to tape a documentary–it was ABC's Vietnam Requiem–about the war. When I watched it back, what struck me was how young the soldiers were: the documentary said their average age was 19. I was out having fun in pubs and clubs when I was 19, not being shoved into jungles and shot at. One line–'None of them received a hero's welcome'–really struck a chord. When the soldiers came home, people wondered what had happened to the smiling kids who went out there. What did they expect if they'd been through that shit?
I started messing around and adding music to the narrative. The main sound was electro–I was hugely into Afrika Bambaataa at the time–but I added a bit of jazz and a nice melody. I used an Emu Emulator, an early type of sampler that had a two–second limit when it came to doing samples. That's why the hook was 'N–n–n–nineteen'. It was the only bit of the narrative that made sense in two seconds."
(Interviews by Dave Simpson, The Guardian, 24 September 2012)
"The collective emerged in 1966 at the moment when the technocratic optimism of the first half of the 1960s was souring. The watershed was the beginning of the Cultural Revolution in China in 1966 when Mao Tse–tung gave Western intellectuals a new cause to believe in after a decade of disillusion since their faith in communism was shattered by Khrushchev's exposure of Stalin's brutalities. Events in China made Western society seem spiritually barren at a time of growing concern about the Vietnam War. In the visual arts, radicals rebelled against the extrovert imagery of Pop Art in favour of the politically engaged work of Fluxus artists like Joseph Beuys and Nam June Paik. The rising tide of political frustration culminated in the 1968 student riots in Paris and copycat protests in London, Tokyo and Prague. Women formed fledgeling feminist movements such as the Women's Liberation Front in the US and Mouvement de Libération des Femmes in France. Decades of oppression against gay men and women erupted in a pitched battle in New York, when the police tried to close the Stonewall, a gay bar in the West Village and a politicised gay rights movement exploded.
Superstudio's response was to develop its 'Anti–Design' projects: themes from which were echoed in the work of other radical architects and designers, notably the members of Archizoom, a fellow Florentine group consisting of Andrea Branzi, Gilberto Corretti, Paolo Deganello, Dario and Lucia Bartolini and Massimo Morozzi. Both groups were founded in 1966 and their first important project was to express their theories about the crisis of modernism in the Superarchitecture exhibition in Pistoia, Italy. A year later, they refined the ideas aired in Superarchitecture in a joint follow–up show in Modena."
"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