Art as Unlearning makes an argument for art’s unlearning as a manneristpedagogy. Art’s pedagogy facilitates a form of forgetfulness by extending what happens in the practice of the arts in their visual, auditory and performative forms. The concept of learning has become predominantly hijacked by foundational paradigms such as developmental narratives whose positivistic approach has limited the field of education to a narrow practice within the social sciences. This book moves away from these strictures by showing how the arts confirm that unlearning is not contingent on learning, but rather anticipates and avoids it. This book cites the experience and work of artists who, by unlearning the canon, have opened a diversity of possibilities by which we make and live the world. Moving beyond clichés of art’s teachability and what we have to learn through the arts, it advances a scenario where unlearning is uniquely presented to us by the diverse practices that we identify with the arts. The very notion of art as unlearning stems from and represents a fundamental critique of the constructivist pedagogies that have dominated arts education for over half a century. This book will be of great interest to academics, researchers and postgraduate students in the fields of education, philosophy of education, history of education, pedagogy of art and art education. It will also appeal to educators, art educators, and artists interested in the pedagogy of art.

This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.

Machine, Unlearning was created by a computer program that constructs “litanies” of questions by searching an automatically learned space for word clusters and contexts that are “near” a provided seed concept according to the machine-learned model. Ranging from obvious to awkward, natural to uncanny, these generated streams of inquiry work to frame the assumptions embedded within the model in a (somewhat) human-interpretable way. In the end, machine learning relies on data analysis and pattern recognition to achieve its goals. Machine, Unlearning, however, asks for a different type of analysis: examining, questioning, unlearning.

The Zurich Congress marked a return to the origins of Analytical Psychology: here it was that C.G. Jung lived for the first six decades of this century and developed the school of psychology he came to be known for. Here, too, is where many of today's Jungian analysts from all over the world received their training, and their initiation into the profession. As this collection of the complete proceedings attests, the theme of open questions drew a bountiful array of intriguing responses, and this to the largest gathering of Jungian analysts ever: more than 800 in all.

About the Book Louis I. Kahn (1901–1974) was one of the most prolific architects of the twentieth century. He taught architecture at Yale University and the University of Pennsylvania. He designed and built public and institutional projects in the United States and abroad. His buildings are treasured by architects, educators, and the public, and have received accolades, national and international recognition, and awards in architecture. Book Description The book traces Kahn’s approach to architectural design through his poetic phrases uttered in class, and it examines these as guidelines to establish a basic road map for architecture. Accompanied by concept sketches and photographs that describe Kahn’s buildings in a personal light, Yetken walks us through buildings and recalls anecdotes, comments, and stories from Kahn’s class and office. The approach to the subject matter is new. It is a fresh look at Louis Kahn. It doesn’t repeat things that have already been written or said. It conveys the dynamism of Kahn in academic and professional practice environments. This book offers a brand-new context for understanding Kahn’s philosophical views, deciphering his poetic musings as they relate to the actual design processes that took place in his class and in his office, in particular, based on the personal involvement of the author with the particular project. This is also an immigrant story—the coming-of-age of a young architect, from modest beginnings in his native Turkey, to a transformative intellectual and professional journey in America, and above all, to a successful career inspired by someone with greatness. Contribution and Readership The book is different from comparable architectural books. It is written in nonacademic, readable, and easily understandable language. It is the only book on the subject that describes how Kahn guided his students and his staff. It explains how he structured his approach, how he described architecture to his students and his coworkers in his office, and how he envisioned the role architects should play in society. The book will be helpful and appealing to a broad potential readership, such as students of architecture, art, and design; teachers of these disciplines; scholars of Louis Kahn and American architecture in general; practicing architects; and anyone interested in the creative design process.

An exploration of how contemporary art reframes and humanizes migration, calling for coexistence—the recognition of the interdependence of beings. In Art for Coexistence, art historian Christine Ross examines contemporary art’s response to migration, showing that art invites us to abandon our preconceptions about the current “crisis”—to unlearn them—and to see migration more critically, more disobediently. We (viewers in Europe and North America) must come to see migration in terms of coexistence: the interdependence of beings. The artworks explored by Ross reveal, contest, rethink, delink, and relink more reciprocally the interdependencies shaping migration today—connecting citizens-on-the-move from some of the poorest countries and acknowledged citizens of some of the wealthiest countries and democracies worldwide. These installations, videos, virtual reality works, webcasts, sculptures, graffiti, paintings, photographs, and a rescue boat, by artists including Banksy, Ai Weiwei, Alejandro González Iñárritu, Laura Waddington, Tania Bruguera, and others, demonstrate art’s power to mediate experiences of migration. Ross argues that art invents a set of interconnected calls for more mutual forms of coexistence: to historicize, to become responsible, to empathize, and to story-tell. Art history, Ross tells us, must discard the legacy of imperialist museology—which dissocializes, dehistoricizes, and depoliticizes art. It must reinvent itself, engaging with political philosophy, postcolonial, decolonial, Black, and Indigenous studies, and critical refugee and migrant studies.

This book critically examines four areas common to visual arts curricula: the elements of art and principles of design, the canons of human proportions, linear perspective, and RYB color theory. For each, the author presents a compelling case detailing how current art teaching fails students, explores the history of how it came to be part of the discourse, and then proffers cognitivist and holistic alternatives. This book provides a framework for teachers and teacher-candidates to shape how they advocate for intellectual rigor and embodied learning and, importantly, how they can subvert an existing curriculum to better meet the educational needs of their students.

‘Books have the power to change how we think. Unlearning Silence goes one further: a book that has the conviction to change how we act' Megan Reitz, Fellow at Saïd Business School, Oxford University and author of Dialogue in Organisations ‘This book will transform your relationship with silence so that your voice can finally be heard' Simon Alexander Ong, author of Energize 'A must-read for every leader' Deepa Purushothaman, author of The First, The Few, The Only Having a seat at the table doesn't mean that your voice gets heard. Knowing something is wrong doesn't make it easy to speak up. But this silencing - intentional or not - has profound consequences on our work and life. It blocks talent, skews decisions and causes teams and individuals to fail. So what if there was another way? Drawing on her experience as a lecturer at Harvard Law School and as a Managing Partner at one of the world's leading leadership development companies, Elaine Lin Hering delves into the roots of silence, examining the patterns that keep us trapped, and showcases the impact that rewiring unconscious behaviours can have on innovation, creativity and collaboration. From the boardroom to the classroom, from personal relationships to wider communities, Hering shows us how we can have more authentic conversations, foster inclusive spaces and amplify all voices. Because only by unlearning silence can we fully unleash talent, speak our minds, and be more complete versions of ourselves... and help other people do the same.

With More Essays in Unlearning, readers tour the abyss of our socio-cultural unmaking. Unmask yourself; accept that the world is a lie. Only then might you begin to climb out of your rut, oh well-rutted friend. Bro. Jack, O4B is the tour guide. Though he morphs into "Harland" for some few essays, he gets his "Rev. Gumpus voice" back toward the end of the book. Yes, we find that even our tour guide is a clone-prose narrator afloat among images snagged from the web. And his weird task ministry-Catholic-yet-adrift-at times perilously stupefied-resiliently carries his Soul Enticed message onward.

The training of teachers in arts universities is changing. It is confronted by the great challenge of essential cultural, technological, social and economic changes. The symposium "Perspectives on Art Education" (Vienna, May 28 - 30, 2015) is dedicated to these changes: What does the training need today in terms of artistic practice, research, and communication skills? What explanations do historical and contemporary approaches offer? What new strategies are needed in teaching and learning? How can the diverse approaches to art education in different cultures, embedded in various national structures and school types complement and empower each other and jointly develop?