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'The tree articulates and hierarchizes tracings; tracings are like the leaves of a tree. The rhizome is altogether different, a map and not a tracing. Make a map, not a tracing. The orchid does not reproduce the tracing of the wasp;
it forms a map with the wasp, in a rhizome. What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real.' (ATP. p. 2)

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commodore 64 - the locked "Garden of Eden" (1985)

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commodore 64 - the locked "Garden of Eden" (1985)

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486 PC - learning to use the keyboard escaping the spider game in our ICT classroom activity

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486 PC - learning to use the keyboard escaping the spider game in our ICT classroom activity

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Slide from Dr Zvonimir Komar Videogame interactivity and learning keynote at the Digital Learning Conference in Zagreb 

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‘...the nomadic as characteristic as a state of “becoming, heterogeneity, infinitesimal, passage to the limit, continuous variation”, which in social organization presented itself as a rhizome structure instead of being centralized around a power core.’ (Braidotti)

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Paint to practice English and Computer skills 

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Paint to practice English and Computer skills 

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November 20, 1923: Postulates of Linguistics 

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November 20, 1923: Postulates of Linguistics 

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10,000 B.C.: The Geology of Morals (Who Does the Earth Think It Is?) 

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10,000 B.C.: The Geology of Morals (Who Does the Earth Think It Is?) 

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587 B.C.-A.D. 70: On Several Regimes of Signs 

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587 B.C.-A.D. 70: On Several Regimes of Signs 

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November 28, 1947: How Do You Make Yourself a Body Without Organs? 

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November 28, 1947: How Do You Make Yourself a Body Without Organs? 

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Year Zero: Faciality ('The face is a veritable megaphone')

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Year Zero: Faciality ('The face is a veritable megaphone')

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1874: Three Novellas, or "What Happened?" 

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1874: Three Novellas, or "What Happened?" 

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1227: Treatise on Nomadology:—The War Machine 

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1227: Treatise on Nomadology:—The War Machine 

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Telramen op de bank in de klas / Counting-frames in classroom Nationaal Archief / Spaarnestad Photo, SFA001008027. https://www.flickr.com/photos/nationaalarchie

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Conclusion: Concrete Rules and Abstract Machines

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Conclusion: Concrete Rules and Abstract Machines

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Pedagogical, philosophies, theories and approaches for critical and creative teaching.

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drawings/fountain pen (Chinese one! - HERO)

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drawings/fountain pen (Chinese one! - HERO)

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2030 - VR AR MR  and all that... Educational tools of the future now?

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2030 - VR AR MR  and all that... Educational tools of the future now?

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'Posthumanist perspectives call into question many assumptions that underlie methodological approaches for the study of teaching and learning, which center human talk, gesture, and movement in the analysis of objects and artifacts as primarily mediators of human interactions. Scholars in the posthuman field inquire how methodological tools can capture the increasing complexities that could help foster sustainable, equitable, and digital teaching and learning.' (From: Advancing posthuman methodologies in the study of teaching and learning.

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Digital Culture & Education (ISSN: 1836-8301)

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Issues of sustainability, equity, and datafication are moving to the forefront of educational inquiry. To grapple with these issues, scholars are gravitating toward posthumanist perspectives across educational research (e.g., Eglash, et al.; 2020; Behar, 2016; Taguchi, 2009; Taylor & Ivinson, 2013; Jackson, 2013; Kuby & Rowsell, 2017; Wargo, 2017). Posthumanist perspectives decenter the human in our epistemological and analytical approaches and suggest blurrier relationships of social and material worlds (e.g., Barad, 2003). These perspectives offer possibilities for showing material forces on teaching and learning that would otherwise be overlooked but actively play into issues of sustainability, equity, and datafication. Posthumanist perspectives call into question many assumptions that underlie methodological approaches for the study of teaching and learning, which center human talk, gesture, and movement in the analysis of objects and artifacts as primarily mediators of human interactions. Scholars in the posthuman field inquire how methodological tools can capture the increasing complexities that could help foster sustainable, equitable, and digital teaching and learning.

With this special edition, we aim to contribute to a fuller understanding of the study of teaching and learning by bringing together a multitude of posthumanist approaches related to the following themes and beyond:

Digital and socio-material ethico-onto-epistemologies - Methodological approaches toward the historical, cultural, and ecological shaping of technologies in education.

Materiality of studying teaching and learning - Presentations of how cultural and materialized practices of research shape understanding of teaching and learning.

Decolonial and indigenous research practices - Reflections of how practices of research instrumentations shape theoretical understanding of teaching and learning and open research towards non-extractivist approaches.

Sustainable and ecological relationships - Ways of capturing and understanding socio-material configurations toward more sustainable and equitable futures in education.

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Posthuman methodologies - Digital Culture & Education (ISSN: 1836-8301)

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Issues of sustainability, equity, and datafication are moving to the forefront of educational inquiry. To grapple with these issues, scholars are gravitating toward posthumanist perspectives across educational research (e.g., Eglash, et al.; 2020; Behar, 2016; Taguchi, 2009; Taylor & Ivinson, 2013; Jackson, 2013; Kuby & Rowsell, 2017; Wargo, 2017).

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10.30 Friday 11th November 2022 - Loop Hotel, Zagreb, Croatia. Many Presences, Many Presents.

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10.30 Friday 11th November 2022 - Loop Hotel, Zagreb, Croatia. Many Presences, Many Presents.

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QR Code to access this Padlet

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1968 - Beneath the Pavement, the Beach - Sous les pavés, la plage

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1968 - Beneath the Pavement, the Beach - Sous les pavés, la plage

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Dallas tv series on our black and white TV, I was 7 y.o.

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Dallas tv series on our black and white TV, I was 7 y.o.

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being an adult at the age of 5 | TV at my grandfather

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being an adult at the age of 5 | TV at my grandfather

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the Jetsons | imagining future of technology 

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the Jetsons | imagining future of technology 

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‘these were the first pencils used first to make marks on sheep wool but later artists used them to draw and make more precise marks. these pencils came in big chunks then they were sawed in to sticks with sheep skin wrapped around them then later had sting wrapped around them’  https://www.sutori.com/en/story/https://www.sutori.com/en/story/evolution-of-the-pencil--srVgqFC9WgpQaih6KhkpPEUg-of-the-pencil--srVgqFC9WgpQaih6KhkpPEUg

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"DIGITAL PEDAGOGY FOR DIGITAL FUTURE" 11 - 12 November 2022 / Zagreb, Croatia

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"DIGITAL PEDAGOGY FOR DIGITAL FUTURE" 11 - 12 November 2022 / Zagreb, Croatia

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1960/2008 - 120 Nights of Staggering + Stammering

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1960/2008 - 120 Nights of Staggering + Stammering

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'..an ever always changing, cav, cav, cavor, cavorting carousel, that documents the transitory lives that pass, pass, pass, through our crystalline worlds.'

The young man at the beginning of Andrei Tarkovsky's The Mirror stammers and stutters, and then learns not to.
My grandmother, Rose-Marie, staggers out of The China Hall Public House, The White Horse Tavern, The Crystal Tavern, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes. Followed by my grandfather, without a St. Bernard dog for company. 'Ice, No Brandy'. The very very late night Troy Bar in Soho always clings.

However far I try and get away from 'Grey Gardens' it still tugs me back to 'Tea for Two'. Just tea for two and two for tea Just me for you Just tea for two and two for tea Just me for you.

Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories.

On the 27 of December 1960 Marilyn Monroe gave birth to a baby boy. Two weeks earlier she had flown to the town of Pointe-à-Pierre in Trinidad and Tobago to give birth. The father is unknown. She gave it up for adoption immediately. A Mexican divorce was granted to Arthur Miller and Marilyn Monroe on January 24, 1961. The boy, weighing 6lbs and 12oz was adopted by Sheila and Stephen Ingham

120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble: New York, London, Venice, Iquitos, Ocho Rios.

Consisting of old SLR film cameras and LED spotlights each of the 120 'projectors' throws out images of people, events and the fabric surrounding wherever it is exhibited. A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation/site. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources.

The projectors can be clumped together in one location or be spread around different locales as needs be. The audience is enveloped in and disrupts this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable, as they will depict places just passed through on the way to the exhibition site.

There will be temporal shifts occurring sometimes of mere days alongside others of an indeterminate age. Referents will be lost and gained throughout this encounter.

'...an ever changing, cavorting carousel, that documents the transitory lives that pass through our crystalline world.'
The End The End To be continued.....
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120 Days and Nights of STAGGERING + STAMMERING.

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text start] '..an ever always changing, cav, cav, cavor, cavorting carousel, that documents the transitory lives that pass, pass, pass, through our crystalline worlds.' 120 Days and Nights of STAGGERING + STAMMERING. The young man at the beginning of Andrei Tarkovsky's The Mirror stammers and stutters, and then learns not to.

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2020 - Experimental Pedagogies Research Group (EPRG) ‘challenging & changing how we learn and teach’

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2020 - Experimental Pedagogies Research Group (EPRG) ‘challenging & changing how we learn and teach’

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'To make is to challenge...by practising things, practising life, practising creation. ' Theaster Gates

During the past two years, the EPRG has actively created a range of experimental projects which have pedagogy at the heart. Through this work, the group has built a vibrant network and developed a place for existing UAL wide creative pedagogic practice and research to come together. In doing so we have filled a gap and identified the need for funded, ambitious and advanced investigation into pedagogical practice in art & design, to address and work towards solving the real problems we currently face concerning student engagement and experience.

The Experimental Pedagogies Research Group (EPRG) was set up on the 14th of July 2020 in response to growing demands from various staff and doctoral students at UAL for a place where theoretical and practical ideas of experimentation in creative educational contexts could be explored.

Image Credits: OUR FUR OUR FUR [Many): Ana Vicente Richards, Jonathan Martin, Mark Ingham, Sara Ortolani and The EPRG (2021).

Three concurrent aims were quickly identified.
To create and imagine more informal, online, hybrid and in person spaces. Where ideas of experimental and creative pedagogies, could be discussed and put into practice. This has been established over the last 2 years in our monthly meetings.

And

To locate funding streams for creative experimental projects that we wished to develop. We have had a number of funding bids that have been successful over the last 2 years and we are seeking more funding for our research from other sources external to UAL

And

To explore the possibility of setting up a Research Centre at UAL dedicated to developing, with our talented practitioners, new ways of practicing and thinking about creative education.

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As Tim Stephens argues in his working paper The Ethics of Staff Development (2021), 'After rupture: forms of neo-disciplinarity in education after modernism ... when the biosphere cannot sustain human development, we will need to re-wild pedagogy with a type of educational archaeology. Enacting the tension between a future-oriented and nostalgic world view, we engender immediate remedies of handing back, relinquishing our status to natural forces (Terra Carta), magnifying small acts of reparation to redeem utopia.'

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As UAL's Honorary Doctor Theaster Gates exemplifies how socially-engaged art can work for the benefit of the underrepresented in our societies, the EPRG is fully engaged in socially conscious pedagogical work. Its work will be driven by research into ways of creating even better education for all our learners, staff and students alike. As Gates says in his 2018 UAL Doctoral acceptance speech, '...we are attempting to constitute a way of understanding a world of nothing and turning it into something'. Over the last two years, the EPRG has been doing exactly this through a series of collaborative and experimental events that model what is possible within all our limits of time and space. The EPRG spends its time between the research and creation of pedagogical ideas and the discussion and implementation of new pedagogical practices. This will include:

Advancing practice-led research into learning practices in art & design within the educational/ pedagogical context of UAL and the wider social and cultural contexts

Knowledge production through praxis (theory into practice and practice into theory) at the intersection of artistic practice and experimental pedagogical practice

Housing and disseminating research projects from scholars and students in the field of artistic-pedagogical practice where work is centred around social, racial and ecological justice

Create new forms of teaching and learning experiences grounded in the teaching and learning community at UAL

The EPRG currently provides regular meetings and action places for a diverse assembly of UAL staff and doctoral students interested in experimental and creative pedagogies. On the back of these monthly meetings, we have worked voluntarily, collectively, and non-hierarchically to develop a range of pedagogical focused experiments, including 24hrs ON EARTH experimental event which was programmed as part of the UAL Research Season 2022. We have identified a gap in the research portfolio at UAL for funded, ambitious and advanced investigation into pedagogical practice in art & design. The proposal for a Research Centre aims to address this gap within UAL, while providing time, space and funds through institutional recognition to advance our research into the crucial work of the UAL community and beyond.

The EPRG is a daring and safe place and space where new pedagogical knowledge is created and put into practice for the benefit of all UAL students and staff. It is a creative and critical learning space. We ask our students to take risks, be daring, try new things out, and experiment. We need to do the same in our pedagogical research. We should have the theoretical and practical tools to challenge what has gone before and to make new educational environments fit for our world now and that to come. The EPRG has demonstrated through its diverse community that it is possible to carry out new ways of qualitatively researching how our students feel about their experiences at UAL through funded projects like Falling Through the Gaps. We have shown how we can be a global group that takes into consideration all our students wherever they are in the world and at whatever time they are ready to learn and demonstrated to our staff and ourselves how in the space of 60 mins x 24, new work can be created collaboratively with strangers (24 Hours ON EARTH). We have used online spaces and their breakout rooms to meet new colleagues, collaborate and create hybrid artefacts (OUR FUR OUR FUR). We have presented at conferences including EdEx21 (Bodies without Organs ) We will engage our postgraduate students in this pedagogical research as we are already doing with the twelve PhD students currently members of the EPRG and through our ongoing funded projects (Talking Heads: How Did I Get Here?)

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"It's not so much that it preexists or comes ready‐made [...] you make one, you can't desire without making one. And it awaits you; it is an inevitable exercise or experimentation, already accomplished the moment you undertake it, unaccomplished as long as you don't. [...] It is not at all a notion or a concept but [...] a set of practices. [...] you can't reach it, you are forever attaining it, it is a limit."

(Gilles Deleuze & Felix Guattari A thousand plateaus: Capitalism and schizophrenia, vol. 2)

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'To make is to challenge...by practising things, practising life, practising creation. ' Theaster Gates  During the past two years, the EPRG has actively created a range of experimental projects which have pedagogy at the heart. Through this work, the group has built a vibrant network and developed a place for existing UAL wide creative pedagogic practice and research to come together.

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Epizoochory [epi-zo-o-cho-ry] (noun): seed dispersal by transporting on the outside of animals

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Epizoochory [epi-zo-o-cho-ry] (noun): seed dispersal by transporting on the outside of animals

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How we might think about furring and burring and further bringing learning to life

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Example for first learning device in Kindergarten

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Tactile learning - sensory object investigation

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People over 40 carry the evidence of the use of pen as a tool of life-long technology

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Spiel ohne Grenzen, growing up in a household without TV

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https://eurovision.tv
Jugoslovenska televizija

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Will robots replace teachers in classrooms? 

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Artificial Intelligence started modifying educational tools and institutions

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Artificial Intelligence started modifying educational tools and institutions

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future: educators being open to check in with themselves, with what works for them and their students, open to share their knowledge with other educators and pass the continuous learning vibe to their students

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future: educators being open to check in with themselves, with what works for them and their students, open to share their knowledge with other educators and pass the continuous learning vibe to their students

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Hands on

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Guatanamo Bay in Second Life