Dr. Maya Angelou is one of the most renowned and influential voices of our time. Hailed as a global renaissance woman, Dr. Angelou is a celebrated poet, memoirist, novelist, educator, dramatist, producer, actress, historian, filmmaker, and civil rights activist.

Born on April 4th, 1928, in St. Louis, Missouri, Dr. Angelou was raised in St. Louis and Stamps, Arkansas. In Stamps, Dr. Angelou experienced the brutality of racial discrimination, but she also absorbed the unshakable faith and values of traditional African-American family, community, and culture.

As a teenager, Dr. Angelou’s love for the arts won her a scholarship to study dance and drama at San Francisco’s Labor School. At 14, she dropped out to become San Francisco’s first African-American female cable car conductor. She later finished high school, giving birth to her son, Guy, a few weeks after graduation. As a young single mother, she supported her son by working as a waitress and cook, however her passion for music, dance, performance, and poetry would soon take center stage.

In 1954 and 1955, Dr. Angelou toured Europe with a production of the opera Porgy and Bess. She studied modern dance with Martha Graham, danced with Alvin Ailey on television variety shows and, in 1957, recorded her first album, Calypso Lady. In 1958, she moved to New York, where she joined the Harlem Writers Guild, acted in the historic Off-Broadway production of Jean Genet’s The Blacks and wrote and performed Cabaret for Freedom.

Continue HERE

Image Above: Dr. Maya Angelou with writer James Baldwin.

27 Mar 2000, Manhattan, New York, New York, USA – Author Maya Angelou hosts the 2000 annual conference for the Children’s Defense Fund. – Image by ©Najlah Feanny/CORBIS SABA

As the last American soldiers left Iraq in December, so, too, did many of the journalists who had covered the war, leaving little in the way of media coverage of post-war Iraq. While there were some notable exceptions — including two fine articles by MIT’s John Tirman that asked how many Iraqis had been killed as a result of the US invasion — overall the American press published few articles on the effects of the occupation, especially the consequences for Iraqis.

As a college professor, I have a special interest in what happened to Iraqi universities under US occupation. The story is not pretty.

Until the 1990s, Iraq had perhaps the best university system in the Middle East. Saddam Hussein’s regime used oil revenues to underwrite free tuition for Iraqi university students — churning out doctors, scientists, and engineers who joined the country’s burgeoning middle class and anchored development. Although political dissent was strictly off-limits, Iraqi universities were professional, secular institutions that were open to the West, and spaces where male and female, Sunni and Shia mingled. Also the schools pushed hard to educate women, who constituted 30 percent of Iraqi university faculties by 1991. (This is, incidentally, better than Princeton was doing as late as 2009.) With a reputation for excellence, Iraqi universities attracted many students from surrounding countries — the same countries that are now sheltering the thousands of Iraqi professors who have fled US-occupied Iraq.

Written by Hugh Gusterson, The Bulletin of Atomic Sciences. Continue HERE

Images via The Washington Post and Costs of War.

It began as a housing marvel. Two decades later, it ended in rubble. But what happened to those caught in between? The Pruitt-Igoe Myth tells the story of the transformation of the American city in the decades after World War II, through the lens of the infamous Pruitt-Igoe housing development and the St. Louis residents who called it home. At the film’s historical center is an analysis of the massive impact of the national urban renewal program of the 1950s and 1960s, which prompted the process of mass suburbanization and emptied American cities of their residents, businesses, and industries. Those left behind in the city faced a destitute, rapidly de-industrializing St. Louis , parceled out to downtown interests and increasingly segregated by class and race. The residents of Pruitt-Igoe were among the hardest hit. Their gripping stories of survival, adaptation, and success are at the emotional heart of the film. The domestic turmoil wrought by punitive public welfare policies; the frustrating interactions with a paternalistic and cash-strapped Housing Authority; and the downward spiral of vacancy, vandalism and crime led to resident protest and action during the 1969 Rent Strike, the first in the history of public housing. And yet, despite this complex history, Pruitt-Igoe has often been stereotyped. The world-famous image of its implosion has helped to perpetuate a myth of failure, a failure that has been used to critique Modernist architecture, attack public assistance programs, and stigmatize public housing residents. The Pruitt-Igoe Myth seeks to set the historical record straight. To examine the interests involved in Pruitt-Igoe’s creation. To re-evaluate the rumors and the stigma. To implode the myth.

Via The Pruitt-Igoe Myth

Speakers: Professor Craig Calhoun, Professor Bruno Latour, Alan Rusbridger, Professor Judy Wajcman, David Adjaye, Professor Geoff Mulgan, Lord Richard Rogers, Polly Toynbee.
This event was recorded on 14 May 2010 in Sheikh Zayed Theatre, New Academic Building.

In this exciting half-day conference two panels on ‘Public Life and Public Policy’ and ‘Cities and the Public Realm’, discuss these themes in the context of the work of Professor Sennett, the eminent sociologist whose recent books include The Culture of the New Capitalism and The Craftsman.

New symbiotic algae and seafood/fish farms generated in Crane Greenhouses

As global regions undergo structural and demographic shifts, agritourism and algae farms have huge potential, but models need testing and feedback from people, so that prototypes can be optimally identified as multi-use educational resources related to their living context. ‘You don’t have so many choices at the moment. There is a detachment of production from consumption, when even recycling can be fun’, say ecoLogicStudio. Their Algae Farm for the Swedish Municipality of Simrishamn demonstrates the interactive potentials for algae-related urban activities and architectural prototypes. Here on the Ostersjiön region of Sweden on the Baltic Sea a decaying fishing industry and aging local population ‘calls for the introduction of a new type of economic and urban system.’

HORTUS (Hydro Organisms Responsive To Urban Stimuli) is a new exhibition from ecoLogicStudio that engages with the notions of urban renewable energy and agriculture through a new gardening prototype. Over a four-week growing period, flows of energy (light radiation), matter (biomass, carbon dioxide) and information (images, tweets, stats) will be triggered to induce multiple mechanisms of self-regulation and evolve novel forms of self-organisation. HORTUS proposes an experimental hands-on engagement with these notions, illustrating their potential applicability to the masterplanning of large regional landscapes and the retrofitting of industrial and rural architectural types, as exemplified in the project ‘Regional Algae Farm’ developed by ecoLogicStudio for the Swedish region of Osterlen.

Architectural Association School students, staff and visitors are invited to engage daily with HORTUS to invent new protocols of urban biogardening. A virtual organism such as this offers the opportunity to capture and build up information and cultivation practices, enriching the material experience of the visitor turned urban ‘cyber-gardener’.

Simrishamn Regional Algae Farm

Text and Images via AA and Domus. +++ info HERE

Getting out of the cave and seeing things as they really are: that’s what philosophy is about, according to Almira Ribeiro. Ribeiro teaches the subject in a high school in Itapuã, a beautiful, poor, violent neighborhood on the periphery of Salvador, capital of the state of Bahia in Brazil’s northeast. She is the most philosophically passionate person I’ve ever met.

Most of the four million slaves shipped from Africa to Brazil were sold in Salvador, the first residence of Portugal’s colonial rulers. It’s still Brazil’s blackest city. In Ribeiro’s neighborhood, children play football or do capoeira, pray in Pentecostal Churches or worship African gods. Many are involved with drugs; “every year we lose students to crack,” she tells me. And they study philosophy two hours each week because of a 2008 law that mandates philosophy instruction in all Brazilian high schools. Nine million teenagers now take philosophy classes for three years.

“But seeing things as they really are isn’t enough,” Ribeiro insists. As in Plato’s parable in The Republic, the students must go back to the cave and apply what they’ve learned. Their lives give them rich opportunities for such application. The contrast between the new luxury hotels along the beach and Itapuã’s overcrowded streets gives rise to questions about equality and justice. Children kicking around a can introduce a discussion about democracy: football is one of the few truly democratic practices here; success depends on merit, not class privilege. Moving between philosophy and practice, the students can revise their views in light of what Plato, Hobbes, or Locke had to say about equality, justice, and democracy and discuss their own roles as political agents.

Written by Carlos Fraenkel, Boston Review. Continue HERE

There’s no gentle way to put it: People who give in to racism and prejudice may simply be dumb, according to a new study that is bound to stir public controversy.

The research finds that children with low intelligence are more likely to hold prejudiced attitudes as adults. These findings point to a vicious cycle, according to lead researcher Gordon Hodson, a psychologist at Brock University in Ontario. Low-intelligence adults tend to gravitate toward socially conservative ideologies, the study found. Those ideologies, in turn, stress hierarchy and resistance to change, attitudes that can contribute to prejudice, Hodson wrote in an email to LiveScience.

“Prejudice is extremely complex and multifaceted, making it critical that any factors contributing to bias are uncovered and understood,” he said.

Controversy ahead

The findings combine three hot-button topics.

“They’ve pulled off the trifecta of controversial topics,” said Brian Nosek, a social and cognitive psychologist at the University of Virginia who was not involved in the study. “When one selects intelligence, political ideology and racism and looks at any of the relationships between those three variables, it’s bound to upset somebody.”

Polling data and social and political science research do show that prejudice is more common in those who hold right-wing ideals that those of other political persuasions, Nosek told LiveScience. [7 Thoughts That Are Bad For You]

“The unique contribution here is trying to make some progress on the most challenging aspect of this,” Nosek said, referring to the new study. “It’s not that a relationship like that exists, but why it exists.”

Written by Stephanie Pappas, Live Science. Read Article HERE

For the next 306090 book, guest editor David L. Hays wants to know, “What is essential knowledge for architecture?”What is essential knowledge for architecture?

This frequently posed question targets fundamental principles of design, those basic criteria and priorities through which disciplinary stability is ensured. Yet, insofar as relevance is a core value of architecture, in both theory and practice, the contingent nature of the future guarantees that some forms of knowledge not presently considered essential will eventually become indispensable.

With that condition in mind, the editors of 306090 15, (Non-)Essential Knowledge for (New) Architecture, seek contributions that envision possible futures for architecture through speculations about new disciplinary knowledge. What specific methods, materials, or understandings—tools, ratios, formulas, properties, principles, guidelines, definitions, rules, practices, techniques, reference points, histories, and more—not presently considered essential to architecture could, or should, define its future? Pertinent knowledge might be previously forgotten, currently undervalued, generally misunderstood, or not yet recognized. Architects have long looked both to the outmoded traditions of their discipline and to other fields altogether when imagining possible directions for their work. In blurring the boundary between essential and non-essential knowledge, this inquiry seeks not to codify the contemporary state of the art for architecture, nor to assert the value of multidisciplinarity, but to envision, and potentially catalyze, new disciplinary approaches.

(Non-)Essential Knowledge for (New) Architecture will serve as both a gauge of contemporary concerns and a manual for emergent theory and practice. Submissions are sought from practitioners, theorists, historians, critics, artists, activists, and anyone else with direct or indirect interest in the future of architecture.

Click HERE to submit and for more information.
Deadline: Friday, March 30, 2012

Synopsis: This conference aims to reflect on the relevance of the concept of dissidence for architectural practice today. Although dissidence has been primarily associated with architectural practices in the Eastern Bloc at the end of the Cold War period, contemporary architectural and other aesthetic practices have in recent years developed a host of new methodologies and techniques for articulating their distance from and critique of dominant political and financial structures. Architecture and the Paradox of Dissidence asks how we can conceive of the contemporary political problems and paradoxes of architecture in relation to their precedents? Devoid of the agency of action, Cold War dissidents articulated their positions in drawings of fantasy-like paper architecture, while contemporary forms of architectural practice seem to gravitate towards activism and direct-action in the world. The political issues – from interventions in charged areas worldwide to research in conflict zones and areas undergoing transformations – currently stimulate a field of abundant invention in contemporary architecture. Both, Cold War dissidents and contemporary activists encounter problems and paradoxes and must navigate complex political force fields within which possible complicities are inherent risks.

New forms of critical practice, and political and spatial dissent are manifold, appearing in stark contrast to contemporary architectural practice in which professional courage seems to have been translated into structural “virtuosity” of surfaces. This conference seeks to map out and expand on the methodologies of architectural action and reinvigorate the concept of dissent within the architectural/spatial field of the possible. A more historical thread that runs through the programme will seek to weave the genealogy of political/spatial practices from the Cold War dissidents of the Soviet Bloc to the activists of South American favelas.

Dissidents in the former communist countries used a specific set of codes to question the ideological doctrine of the state party. Architects who were otherwise employed in state run architectural collectives, or as staff in architecture schools met to produce writings, private lectures, secret installations and architectural articulations of allegories and legends – activities that challenged the ’stifling’ standardized language of Soviet architecture. Many of these ‘paper architects’ questioned the relationship between art, architecture and politics, but also, and significantly so, the ideological, and thus also ethical function of various forms of ‘creative practices’. The political melt-down of the Soviet Bloc reconfigured this complex field of political codes, architectural gestures and references. The withdrawal of the architect from large ideological concepts regarding social utopias mirrored that fragmentation and dissemination of (neo)liberal market structures. Large ideological battles were replaced with a multiplicity of local, or issue-specific conflicts within which forms of activism have been integrated. Dissent against large integrated and complex networks is no longer possible. All that is left is to navigate the complex fields of forces in a reflective and innovative manner. But can the assemblage of gestures and techniques of past struggles and ‘dilemmas’ of working in politically suppressive regimes help to inform those of today?

The conference thus seeks to attract contemporary spatial practitioners, architects, urbanists, journalists, activists, filmmakers and curators, asking them to reflect upon contemporary forms and conditions of dissent and their potential problems and inevitable paradoxes. It welcomes, too, the reflections of architects and architectural historians to reflect upon previous articulations of political dissent through architectural practice.

Text taken from http://dissidence.org.uk

A new school system in Sweden eliminated all of its classrooms in favor of an environment that fosters children’s “curiosity and creativity.”

Vittra, which runs 30 schools in Sweden, wanted learning to take place everywhere in its schools — so it threw out the “old-school” thinking of straight desks in a line in a four-walled classroom (via GOOD).

Vittra most-recently opened Telefonplan School, in Stockholm. Architect Rosan Bosch designed the school so children could work independently in opened-spaces while lounging, or go to “the village” to work on group-projects.

All of the furniture in the school, which looks like a lot of squiggles, is meant to aid students in engaging in conversation while working on projects.

The school is non-traditional in every sense: there are no letter grades and students learn in groups at their level, not necessarily by age.

Admission to the school is free, as long as the child has a personal number (like a social security number) and one of the child’s parents is a Swedish tax payer.

Written by Meredith Galante for Business Insider. Continue HERE

The Neale Wheeler Watson Lecture 2010, given by Professor Bruno Latour: “May Nature Be Recomposed? A Few Questions of Cosmopolitics”.
Location: Nobel Museum, Svenska Akademiens Börssal, May 11 2010. The Neale Wheeler Watson Lecture is given every spring at the Nobel Museum by an international scholar of excellence.

“Codecademy was created out of the frustrations Zach and Ryan felt with learning how to program. Tired with less effective text and video resources, Ryan and Zach teamed up to create Codecademy, a better, more interactive way to learn programming by actually coding. This is just the beginning. Join us as we make it easy for everyone to love and learn how to code.”

Learn HERE

The history of postwar art in Los Angeles is punctuated by dramatic examples of public artworks, large-scale spectacles, expansive performances, and small-scale interventions in the public sphere. The Pacific Standard Time Performance and Public Art Festival celebrates this history through a contemporary lens, with a series of adaptations, re-inventions, and commissions that are inspired by the installation and performance artists working in Los Angeles between 1945 and 1980.

Throughout the 11-day festival, a group of new public artworks will be on view throughout the city. In addition, new performances will premiere every day, including outdoor visual spectacles, experimental theater and sound art, social and political interventions, and media art. A nightly after-party, Black Box, will provide a space for socializing, and include surprise performances each evening.

The festival is presented as part of Pacific Standard Time: Art in L.A. 1945-80, an unprecedented collaboration of cultural institutions across Southern California coming together to celebrate the birth of the L.A. art scene. As the festival moves throughout the city, visitors will also be surrounded by dozens of groundbreaking exhibitions about the history of art in Southern California. The festival calendar has been designed to allow time to attend both the performances and nearby exhibitions on each day.

Pacific Standard Time Performance and Public Art Festival

Ed Bereal and members of The Bodacious Buggerrilla performing Miss America Piece, ca. 1969-70

Ulrick Beck, in “Risk Society’s Cosmopolitan Moment” suggests that being at risk is the human condition at the beginning of the twenty-first century. While risk produces inequality and destabilization, he argues, it can be the catalyst for the construction of new institutions. The term extreme is defined as outermost, utmost, farthest, last or frontier. Bracket [at Extremes] seeks to understand what new spatial orders emerge in this liminal space. How might it be leveraged as an opportunity for invention? What are the limits of wilderness and control, of the natural and artificial, the real and the virtual? What new landscapes, networks, and urban models might emerge in the wake of destabilized economic, social and environmental conditions?

Bracket [at Extremes] will examine architecture, infrastructure and technology as they operate in conditions of imbalance, negotiate tipping points and test limit states. In such conditions, the status quo is no longer possible; systems must extend performance and accommodate unpredictability. As new protocols emerge, new opportunities present themselves. Bracket [at Extremes] seeks innovative contributions interrogating extreme processes (technologies, operations) and extreme contexts (cultural, climatic). What is the breaking point of architecture at extremes?

Across disciplines academics and artists are researching and creating practices that are highly contextual (determined by the environment in which they are located), exploring ways of articulating specific environments, spaces or places. This conference examines a specific problematic that attends the dissemination of this work: how to engage with ‘being there’ when ‘there’ is not here?

We understand environment (social, built, natural, technological) as that which surrounds and informs us. Through our practice we influence our environment. What we create is shaped by our surroundings. We exist in a relation of mutual exchange; making ourselves other and incorporating that which is other in turn. This conference offers a forum for academics and creative practitioners to come together and engage with articulations of mutual formation: to discuss work as environment.

Such work often relies on direct, personal experience of a particular environment. Transfer and abstraction, necessary for the communication of this work beyond the specifics of this original environment, challenge the work. Negotiating publication or conference environment, for example, necessitates reformulation of the work, engendering changes in texture and experience, in adapting to alternative structures. What do such alterations, translations or transformations, mean for this work?

This conference aims to examine these questions on a very practical level. When it comes to considering environment, what is the relationship between the structures of dissemination and the environment our work seeks to convey? What is the relationship between our academic environment and the work we (aim to) produce? How do we utter our environment?

Poets and writers, artists, academics, social and environmental scientists, performers and musicians, among others, are invited to discuss ways of uttering environment. Organizers seek work that explores the phenomenological sense of speaking with environment. They encourage the use of a diverse range of media as part of this dialogue. Participants are invited to find new ways of expressing their research and/or artistic practice in a conference setting that reflects upon this process of adaptation as a process of practical enquiry.

Deadline for applications: 31st March
Conference: 1st-2nd September 2012

More info HERE