— “Mobile learning: Crossing boundaries in convergent environments” Conference Monday to Tuesday, March 21st to 22nd, 2011 in Bremen, Germany

The ‘Mobile learning: Crossing boundaries in convergent environments’ Conference builds on a series of mobile learning research symposia hosted by the WLE Centre for Excellence at the Institute of Education, University of London between 2007 and 2009. It will focus on the challenges of developing new pedagogic approaches and on the potential of mobile devices for learning in formal and informal contexts. As mobile learning is not only about learning with mobile technologies, but also considered to be “new” learning, the conference will look at challenges for research and practice in understanding the changing social and technological structures allowing the use of technology for learning that are present in our personal lives, in school and in work places. Thus mobile learning crosses the boundary of institutional learning and looks at practical fields like work-based learning and medicine, too. Also, the conference will look at the latest developments in hardware and software which can support personalised learning. By focusing on theory and practice, development and use, teaching and learning, formal and informal contexts, the conference intends to offer spaces for researchers, practitioners, developers, the industry and policy makers to exchange ideas, experiences and research around issues and approaches to mobile learning, including sociological and educational issues and their effectiveness and desirability as learning spaces as well as the design of environments. http://bremen.londonmobilelearning.net

Schoolboy Daze. Nightingale’s Playground http://www.furtherfield.org/articles/schoolboy-daze-nightingales-playground

Edward Picot reviews Andy Campbell’s four-part digital mystery-story, “Nightingale’s Playground”, which appeared online last year. “Campbell has always been at pains not to place his text in front of his images, or beneath them or to one side, like labels on tanks at the zoo or explanatory plaques next to pictures in a gallery; instead he puts his words inside his graphical environments, sometimes hidden or partially-hidden inside them, so that we have to explore to read. It pulls us in, and it makes his work inherently immersive and interactive… His central characters are often living in a reality with two layers: the “ordinary” everyday world which is mean, dull, shoddy and constricting, but relatively safe; and an inner or underlying reality which can only be glimpsed rather than viewed as a whole, possibly because it is so dangerous and frightening – a reality which emerges fitfully via dreams, games, imaginings and doodles.” This article is co-published by The Hyperliterature Exchange (http://hyperex.co.uk/) and Furtherfield.org.

e-flux journal Issue no. 23

e-flux.com/journal Inspired by Tomas Saraceno’s installation Galaxies Forming along Filaments, Like Droplets along the Strands of a Spider’s Web (2008), Bruno Latour looks at the topology of the sphere as an alternative to that of the network. Whereas networks are able to articulate cursory and diffuse forms of connectivity in the midst of an infinite expanse, the sphere can be seen as pointing the advantages of networks to another technology by which local, fragile, and complex “atmospheric conditions” can gain a formof resilience by way of a container within a broader network. How can we then apply the same logic to a means of “recomposing” disciplinary divides in a way that sustains a common vocabulary, yet overcomes established hierarchies? (see full essay here) In her response to Paul Chan and Sven Lütticken’s last issue of e-flux journal, Idiot Wind, Lívia Páldi reports on the situation in Hungary, where the incumbent Fidesz Party government has, together with the right-wing press, organized a smear campaign against a group of prominent philosophers. Seen as part of a broader push to withdraw support for public education and the arts, such moves presumably clear the way for the advancement of, in the words of Prime Minister Viktor Orbán, a “fine, noble, and refined elite.” (see full essay here)

STORIES WITHOUT BOUNDARIES BUT FULL OF LIES In conversation with Les Liens Invisibles

http://cont3xt.net/blog/?p=4325 és






textz!!!!!! http://ftp.fortunaty.net/com/textz/

—  “FluxRadio”, a podcast curated by Joe Gilmore and Rhiannon Silver

Link: http://rwm.macba.cat/en/s


Transcript: http://bit.ly/i5l3jT

“FluxRadio” explores some of the concepts and ideas behind the music and performance pratice of Fluxus. Featuring sound pieces by George Maciunas, La Monte Young, Joseph Beuys, Nam June Paik, George Brecht, Yoko Ono and others, the programme charts the emergence of Fluxus through 60s avant-garde New York, examining the relationship to John Cage, Zen Buddhism and European avant-garde music.

Anxieties of Social Networking: An interview with Liz Filardi. By Taina Bucher.


Liz Filardi is a New York City-based performance artist who often works in public space. She was recently awarded a Turbulence (http://turbulence.org) Commission for a networked performance piece called I’m Not Stalking You; I’m Socializing, exploring the anxieties of social networking in three modules. “Status Grabber,” the first module, is a satirical online service that extends the status update phenomenon to participation over the telephone. “Black & White,” the second module, is a Facebook-like website, consisting of two interlinked profiles, that tells the story behind one of the original cases of criminal stalking in America. “Facetbook,” the final module, is a performance piece in which the artist compiles a series of archives of her live Facebook profile to illustrate the tension of online identity– between the facade of a profile and the more telling story of how the profile changes over time. The interview was conducted by Taina Bucher, PhD fellow in the Department of Media and Communication at the University of Oslo, Norway. Bucher and Filardi met in Greenwich Village, New York City in May, 2010.

— kép: Sam Taylor-Wood, “Escape Artist (Green and Red),” 2010.

Light jet digital c-type on Fuji Crystal archive paper, 56.5 x 82 cm. Edition of 175. Counter Editions publishes new Sam Taylor-Wood edition www.countereditions.com/escape-artist


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