 Hei, er ffobr yn cael ei fod cyfnod a gweithio i gweithio ar gyfer cymdeithasol er gweithio i Neil Mulholland. Felly, am Llu Mikroff, rydyn ni'n gweithio'r seisio. Felly yn rhoi, Neil, y tifol ydy'r ysgriff ar y Gloriad. Rydyn ni'n gweithio'n gweithio'n gwisio ac mae'n gweithio'n gweithio. Rydyn ni'n gweithio'n gweithio'n gwisio'n gweithio'n gweithio ar gyfer cymdeithasol. Ond Neil yw y profiad Neil Mulholland, y Chyfnod Llywodraeth Cwntempryd Arffentlachol i'r Fyglwyr ar y Ffyrdd ym Mhwylwyr Edinbrwyll, yw ymdyn nhw'n gwybod yn ymddangos ar y cyfnod hynny. Felly, rydyn ni'n ddod i'n gweithio i chi'n gwybod ni'n gwybod. Yn ymdyn ni'n gweithio i chi'n ddwylo'r ymwiyng Nurell, bydd rôl 10 fewn ni gynny universellau, rydyn ni'n gweithio i'w gwybod at y cyfnod yma. Fon i'n gwneud o'r ymddangosRYt a gwahanol ymddangos. Yn ymddangos ymdyn nhw lawer, ymddangos ymddangos ymddangos ar y cyfnod, ymddangos ymddangos ymddangos ymddangosẹt, mae nody kalywedd yr adrod yma. Rydyn ni wedi bod yn cyfnod ymddangos staff Gerdd, Amber Lane, Jake Watts, a Gael i'n gaelwch i'r anod, felly rwy'n ei wneud o'r fynllun. Rydyn ni'n rwy'n wedi'u'n gwneud o hyn o phobl hwnnw. Wrth gwrs, rydyn ni'n gweithio'n meddwl i chi, ond rydyn ni'n gweithio'n meddwl i chi i'n gweithio'n meddwl. Gweithi. Wath i'n gweithio'n meddwl. Rydyn ni'n golygu am ymddangos yw a'r cyffredinol sy'n fath o'r sefydliad o'i ffordd o'i ddiweddod. Rgyf i'n meddwl o'r gerddur â gael bydd angen eich bod yn arsblodio'r byth. Ym wyth i'r gael ar gyfer eraill lleol yn unig o ddweud y bydd yma, mae'r gael iawn o sut i'r ffach, mae'r ddweud y gweithliadau organizaidd, mae'r ddweud yw phobl a'r ffawr argyffortau mewn yr unes yn yr Ffair Cyfrifol o'i pwlethau hon. Ym maen nhw'n hwlau'r canwys a o flodol yn y portio'r ffordd o'r mwyn. yng Nghaeth Gwyl, mae'r argymdeithasol yn bwysig ac yn wych. Mae yw'r cyfrifig ar gyfer gyrch, felly mae'n gweld ar y gwaith gweithio gweithio gweithreitio o ffordd a gweithio ar gyfer gweithreitio gweithreitio. Yr argymdeithasol yn gweithreitio gweithreitio gyda'i cyfrifigio cyfrifigio gweithreitio, ac mae'r gwybodaeth o ffrigigur mewn cyfnwyr o'r amser yn gwybod yr arbyn hefyd ar gyfer ar gyfer gweithreitio geithig. i'r gael, oherwydd mae gennym hanfodd ac yn 50% o arferwyr wedi'i gael ei wneud. Yn oes gael i gael ei ddwyfodol ar y ddweud yma, mae'n meddwl i'r ddechrau'r ffórmol ar y ddweud teimlo, mae'n ddweud eu ddweud ar gyfer y studio, mae'r ddweud ei fod yn hynod o ffórmol. A wedi'u ddechrau, mae'r penderfyniadau cyd-dweud, have been relatively few virtual communities of artistic learners. So how might contemporary artistic learning be reimagined in light of the open paradigm, Paragogy and Paraa academia? How could open and Para approaches help to catalyze the artworkers recovery? So to partly address these issues I'm going to reflect on this new course that I taught in collaboration with my colleagues in the art and learning research group, Jake Watts, Emma Bulkind a Beth Dynnowsky. Y cwrs contemporary art yn open learning was designed to enable colleagues and art students to open access to artistic learning by peer producing, codifying and sharing their own learning practices. Although the course was composed back in 2018, by the time it ran in September 2020, Scotland was in lockdown. This presented a welcome opportunity to refashion the course as a digital OER. Using a can ban, we created an agile process for curriculum design and our OER was rapidly swarmed on notion and made available via our WordPress for play testing. Our OER enables anyone to practice a range of peer based learning theories by practicing the paragogics pioneered in 2011 by the mathematician Joe Carmelli. Paragogics' focus on making tacit knowledge explicit makes it particularly conducive to teaching art. Now the OER is split into two components, the first being play to learn which focuses on do it together and peer to peer and the second the art and learning fair which is really about composing and reflecting and reproducing. Now I'm going to start with play to learn. Paragogics is leaderless and has no distinct roles so everyone is a learner or a paragog. Because of this staff had to join one of four distinct groups of formal learners, each group began by establishing their covenant using a nishida inspired method called build a basho wherein they define and limit the parameters of their unique paragogics. In the absence of a studio this covenant became the playing and making environment. Having self socialized as learners each group then engaged with foundational concepts such as do it together, peer to peer, bife wide learning, the open paradigm and crucially the educational term in contemporary art practice. These groups learned playfully by collectively completing weekly art assignments that we hosted on our WordPress. So for example one assignment involved hacking counseling methods to arrive at an insight oriented form of coaching which centered on ulteriority rather than self-awareness and this provided insight into what we already know and into how we can support each other's learning. Completing the circle of this aurebolic crit enabled each group to become a peer to peer learning exchange. Art assignments then were metacognitive participating in them helped groups to devise test and run their own art assignments. Paragogs play tested. We experienced what worked in disparate learning environments and gained a sense into how our diverse life experiences led us to respond differently to stimuli. So the educational rationale for each of the assignments was supported by the OER which relayed open learning resources that scaffolded this peer to peer learning. These open resources were only engaged following completion of each of the art assignments. Group peer review of the resources was swarmed as a form of open marginalia so we used open web annotation and notion to capture this asynchronously before we met for our weekly stand-ups. So crucially, paragogs acted first and then they critically reflected on action as collective inquiry thinking through the different lenses hosted by the OER. So the second part of this course structure was always intended to support paragogs to run their own workshops as part of a not-for-profit art and open learning fair which would be hosted in a public space in Edinburgh. We adapted this brief so that paragogs would generate an OER that would facilitate or prompt an artistic workshop. This way we were able to fork our staff-divised OER resources into four new peer-run OERs. Thus the co-learning of paragogs would snowball into a public resource that can be exponentially repurposed. The common point of inquiry all groups chose to work with here was the flux of stardust Joseph Boyce's 1978 provocation Yeather Mench in Kunstler or Can Anyone Be an Artist as we repurposed it. Rooted in Boyce's Edinburgh Poor House Action Objects from 1974 has free international university and has worked with the prisoner Jimmy Boyle in Scotland. This provocation seemed prescient of the emancipatory potential of open creation Paragogy and to do it together art schools movement of the 21st century. Acting as collectivised researchers, four groups composed different workshops that modded Boyce's provocation. Using a can band to visualise workflow and limit work in progress each group aspired to honour David Cowell's open education design principles of design for access, agency, participation and experience. The groups took it in turns to play test each other's workshops and then give constructive feedback and support informed by Cowell's principles. Catholising the art world's recovery I think will require engaging a broader constituency of participants. Following the philosopher Paul Bushiers I want to consider now how artists can foster the creation of open research objects that will create new publics that result from the circulation of these objects. Like studio based learning OERs produce subjectivity they socialise learners and generate different publics. So rather than fixate on questions of content and purpose my own reflective analysis here has focused on relationships. The main participants in the open art fair were the co-staff and students and international members of the shift work network. While this was a large pool each workshop was relatively small, limited to just 40 participants. Nevertheless our OER is a truly open curricula and it allows for full freedom of modification and in this sense I would say artistic OERs are akin to Joseph Boyce's action object that is their catalysts for holistic relational learning. So while the Edinburgh course was running my colleague Bethanowski versioned it with her HNC Contemporary Art Practice students over in Glasgow Clyde College. The artist Didjani Banergy had been remixing the OER simultaneously when teaching local primary five children at Edinburgh sculpture workshop which is I should say is the project's non-academic partner. Another mod of the OER is currently being hosted by the Canadian curator Nevin Lochhead and his dark matter playgroup an artist collective who run a gallery in Kingston Ontario. The Canadian mod which focuses on informal learning is called fabricating vibe. The OER's creative commons license encourages such mods and derive forks to be distributed under the same terms as the original. Every time the OER is versioned it grows branches hybridized workshops in the form of more OER's which in turn are versioned. Such looping reverberation has quickly grown an evolving repository of open workshop distributions. Now I see this as a fermentation process and my role here then is to germinate the most lively cultures in my own future course iterations. The VLE thus becomes a host for what I would call a scoop, a symbiotic colony of OER's and people. This way quality enhancement is psychobiotic so as far as I know then to date the OER is being adapted by educators, informal, formal and life-wide learners in both art organizations and educational institutions. Adoptors and modders are close-knit communities of interest but they form part of a bigger network and this harbors potential for such artistic learning to become collective artistic research something closer to Deleuze's new image of thought than to open textbook publishing. Ethical relationships that are established through communities of interest are frequently the bedrock of self-identifying cohorts of artistic peer learners. Interpersonal care and a sense of trust can slowly build a basho that is support for a shared community of practice so in doing do it together initiatives nurturing social relationships very often proceeds and even counters any desire to codify such relationships through organizing or collectivising for such purposes. The OER's support for informal learning I think fits perfectly with arts post-rationalist ethics of care. The way that is in which artistic knowledge creation as a relational practice is continuously modified through doing it together so as action objects artistic OERs offer a great opportunity to create new publics for contemporary art by commoning making and being. The OER emphasis on action-based authentic life-wide and performative learning makes it particularly conducive to scaffolding the acquisition of artistic practice. Thus while currently rewriting our BFAR program in Edinburgh we have sought to actively embody open educational principles throughout the new curriculum. Now thanks to lockdown we're not alone in this for example this spring I'm enrolled in Luca's blend and bleed program which is a series of online workshops on performance pervasive play and trans reality and so far I've taken part in workshops on art larping, high mind training and conspiracy theory composition. The practice here again comes first and reflection on action is later supported by a discord-based critique on bleed fabulation game theory and play theory. It's taken part in these kind of artistic workshops it makes it evident just how easily they can be repurposed for non-artistic fields for example our own workshop Make Gold functions brilliantly as a heuristic tool for co-investigating any value chain. Another the aureborec crit is a very effective life-wide learning exchange technique and composing conspiracy theories is a brilliant way in which to understand evidence-based research. So here in artistic research methods become interoperable methods of learning by doing offering themselves up to other fields of collective inquiry and in conclusion then I'd say that embracing the open paradigm's vision of education as a human right could better equip formal art educational organisations to fulfil UNESCO's right to participate in cultural life. However we must remember that cultural life is fermented formally and informally working together OERs and people can catalyse the recovery for forming symbiotic colonies of artistic learning and thus build new art worlds. Okay that's me. That was I feel like my head is bulging but I'm taking the most parts of different directions. My own practice is very rhizomatic so there were loads of you know new concepts but a lot of sort of relatable stuff in there for me which was absolutely brilliant. I'm waiting for the audience to kick in we've got five minutes for questions but I want to tell a couple of things that just really resonated for me Neil. That idea of ethical relationships the whole sort of holistic practice and I was particularly interested in you said interoperable methods of learning until you know my research is all about not making the invisible visible but making visible boundaries invisible if that makes sense. So look to actually see you know the undercommons of what's there I'm really sort of and so I love that idea you talked about symbiotic OER cultures and the art continually modified by doing it together. It's a real community approach isn't it? Yeah and it's um it's the really that that is the basis of the project so the you know the pandemic has come along it's kind of been opportun but the what we were really trying to build was an analog OER so it takes you know it functions in a physical space and usually we'd use a studio or we would you know we visit different galleries and work in their studios but it's um I think it's the symbiosis is is crucially important as a a soft challenge to how art education is normally practised it's usually very individualistic and it's all about nurturing individuals and their development so it's it's quite closed rather than socialised in this way. Yeah no brilliant. Neil is asking how did the students react to this change from the studio to online? I mean this was happening in a really sort of frightening and dislocating time of course. Well I mean we were we were going to not use the studio I mean that was a key idea this course was that it would not be based in a studio but rather we would make use of other learning spaces so we would initially engage with the Edinburgh Sculpture Workshop that have a court and open an outdoor space where they make or fabricate stone based works and metal work that you can't do inside and the Edinburgh Sculpture Workshop has got a really active public education programme as well so they're engaged with all sorts of different communities in and beyond Edinburgh so the whole point of the course was to open out physically and get out of our art school building not not be located there at all so it going online was actually in some ways really helpful I mean the other thing of course which was unusual I think is like half the students were in China when we started it we couldn't get here so we had to make use of the cities that they were in as well as where we were if we were in the you know if we're in Scotland we were not all in Edinburgh with different bits of so everyone was in a different environment because of lockdown but the students in China were kind of freer to go out and use their local amenities and environments as well so that helped explode the geography of what would otherwise have been you know a kind of more limited terrain I think we would have used had it been offline yeah it's fascinating yeah Christina Rans is asking any other advantages anything I mean I'm adding to that really by saying anything that surprised you the other advantages I think was you know like we did a lot of like translation work partly again because this sort of Chinese European split in terms of the time that we were working through and so we also had to use a mix of synchronous and asynchronous to handle the the different time zones as well but I think the key advantage was that the students really kind of took to use in a lot of the open annotation techniques and swarming became really important so each group really swarmed everything that they did they would either split things up and say well we'll read this book together it has 12 chapters you know we'll take on two each and then report back or they would you know they would divide quite naturally sort of divide up their labour if they decided they had to work on something and all those digital swarming tools were really brilliant for that and we you know we managed to stick to using ones that were open rather than what the university would provide it is with so I think learning to use open tools and and see how you can get access to some of those tools for free and and be you know quite thrifty I think was quite important I found that was an advantage that rather than the students feeling that they had to get getting access to expensive workshop equipment and studio space in order to be creative and yeah totally love that you know get beyond the university prescribed stuff because my background is further education in England that's quite hard for people to be allowed to use this beyond microsoft teams or whatever so I love I love hearing that listen we've run out of time which I can't answer there's a fabulous question from Max Mammoud Warday which which I think would run a little bit so perhaps Max would ask that over on the discord yeah but Neil that's been fantastic I wish we'd had two hours thanks so all right cheers Lou thanks a lot yeah bye see you later I'm not