Elective Course HS2018 | Serendipity | How to unlearn the City

Elective Course HS2018 | Serendipity | How to unlearn the City
August 14, 2018 jrebsame

KEY WORDS

attention | community | critique | experience | exposure | flux | freedom | gift | immediacy | non-hierarchical | non-intentional | ongoingness | openness | playfulness | presence | process | randomness

SITE

all places within 20 min walking distance from Polyterrasse

COURSE TIME

Thursdays from 16:45-18:30

PRACTICES

instructions, games, scores, interventions, performances, etc.

TOOLS

Notebook, pen, body, things on site.

TEACHING TEAM

Prof. Christophe Girot, Ludwig Berger, Dennis Häusler, Johannes Rebsamen, Matthias Vollmer

CONTACT

Ludwig Berger

PARALLEL COURSE

Topology – Portrait of a Tree

 

SCHEDULE

20.09.18 – First meeting on site
27.09.18 – Exercises on site
29. – 30.09.18 – Workshop weekend (obligatory)
04.10.18 – Exercises and interventions on site
11.10.18 – Presentation on site | “Mid Critique”
18.10.18 – Exercises and interventions

 

 

01.11.18 – Development of own project on site
08.11.18 – Development of own project on site
15.11.18 – Development of own project on site
22.11.18 – Development of own project on site
29.11.18 – Development of own project on site
06.12.18 – Presentation on site | “Final Critique”

 

“Unlearning is not forgetting, it is neither deletion, cancellation nor burning off. It is writing bolder and writing anew. It is commenting and questioning. It is giving new footnotes to old and other narratives. It is the wiping off of the dust, clearing of the grass, and cracking off the plaster that lays above the erased. Unlearning is flipping the coin and awakening the ghosts. Unlearning is looking in the mirror and seeing the world, rather than a concept of universalism that indeed purports a hegemony of knowledge.” (Natasha Ginwala, Four Epigrams on Unlearning)

“A poor pedagogy invites one to go outside into the world, to expose oneself, i.e. to put oneself in an uncomfortable, weak position, and it offers the means and support to do so. I think that it offers means for experience (instead of explanations, interpretations, justifications, representations, stories, criteria, etc.), means to become attentive. These are poor means, means, which are insufficient, defective, which lack signification, do not refer to a goal or an end. They are pure means, tracks leading nowhere and which therefore can lead everywhere: a passe-partout.” (Jan Masschelein, E-ducating the gaze)

“Because truths we don’t suspect have a hard time / making themselves felt, as when thirteen species / of whiptail lizards composed entirely of females / stay undiscovered due to bias / against such things existing, / we have to meet the universe halfway. / Nothing will unfold for us unless we move toward what / looks to us like nothing: faith is a cascade.” (Alice Fulton, Cascade Experiment)

“What’s really going on, what we’re experiencing, the rest, all the rest, where is it? How should we take account of, question, describe what happens every day and recurs everyday: the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual? […] We sleep through our lives in a dreamless sleep. But where is our life? Where is our body? Where is our space?” (George Perec, The Infraordinary)

“Might there be hidden, secret, rhythms, hence inacessible movements and temporalities? No, because there are no secrets. Everything knows itself, but not everything says itself, publicises itself. Do not confuse silence with secrets!” (Henri Lefevbre, Rhythmanalysis)

“It is not that we have broken through the surface of the world to discover its hidden secrets. Rather, as the doors of perception open, and as we join with things in the relations and processes of their formation, the surface itself vanishes. The truth of this world, then, is not to be found ‘out there’, established by reference to the objective facts, but is disclosed from within. It is indeed the very matrix of our existence as worldly beings. We can have no knowledge of this truth save by being in it.” (Tim Ingold, Art, Science and the Meaning of Research)

“….the answer must take the form of paradox: a purposeful purposelessness or a purposeless play. This play, however, is an affirmation of life—not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.” (John Cage, Experimental Music)

“Sounds are like ghosts. They slink around the visual object, moving in on it from all directions, forming its contours and content in a formless breeze. The spectre of sound unsettles the idea of visual stability and involves us as listeners in the production of an invisible world.” (Salomé Voegelin, Listening to Noise and Silence)