From Eco-Systems to Social-Systems: A Systems Approach to Sustainability - January 2010 Workshop

From Eco-Systems to Social-Systems: A Systems Approach to Sustainability
ENGAGE YOUR COMMUNITY in this spring 2010 workshop series ... designed
to provoke, inspire and involve
Host: Creative Community Building @ University of Connecticut
Thursday, January 7, 2010
5:30pm - 7:30pm
Location: WindhamARTS Collaborative
866 Main Street, Willimantic, CT 06226

We are pleased to announce our first series of public workshops, to be
held January to June 2010!

From Eco-Systems to Social-Systems: A Systems Approach to
Sustainability ... with Phoebe Godfrey
January 7, 2010 - 5:30-7:30 p.m.
Explore a systems approach to the complex issue of sustainability,
including similarities and differences between biological and social
systems. We'll seek new, sustainable and democratic models for our own
communities and places of learning. Emphasis will be placed on ways in
which the process of transforming our existing systems into sustainable
ones can begin with our own daily practices and the ways in which we
engage with each other. All are welcome; bring ideas and energy.

Registration is requested, but not required. RSVP to Katie Gregory at
catherine.gregory@uconn.edu or 860-486-0358.

Creativity: What Is It? - Creativity Networking Series to Launch in January 2010

==========================
CREATIVITY NETWORKING: Creativity: What Is It?
... with educator Steven Dahlberg
==========================
SUNDAY, JANUARY 10, 2010, 2:00-3:30 P.M.
The Silo at Hunt Hill Farm, 44 Upland Road, New Milford, Connecticut
06776. $10; open to all. RSVP to 860.355.0300 or
culbertsonv@hunthillfarmtrust.org.

Creativity matters in all aspects of society. If you want to reconnect
with your inherent creativity and explore new ways of expressing it,
don't miss this series, which will be held at 2 p.m. on the second
Sunday of each month at The Silo at Hunt Hill Farm in New Milford,
Connecticut. The series will cover topics about creativity in all forms
(including, but not limited to, arts) -- creative thinking, creative
communities, creativity and education, creativity in organizations,
creative persons, the creative process, creative aging, creativity and
movement, creativity and spirituality, and more. In the first session on
January 10, come and explore the general topic of "what is creativity?"
-- plus, who has it, and how one can tap into more creativity both
personally and professionally. Steven Dahlberg, who will host the
series, also will lead the kick-off session in January. Dahlberg is the
head of the International Centre for Creativity and Imagination and
teaches "Creativity + Social Change" at the University of Connecticut.

Please print and post this flyer to spread the word about the series:
http://appliedimagination.org/jan2010.pdf

The Creativity Networking Series is presented by The Silo at Hunt Hill
Farm and the International Centre for Creativity and Imagination, both
based in New Milford, Conn. The series provides a forum for exploring
the many facets of creativity and for discovering other people
interested in creativity.

ABOUT THE FACILITATOR:
Steven Dahlberg is head of the International Centre for Creativity and
Imagination, which is dedicated to applying creativity to improve the
well-being of individuals, organizations and communities. He works with
the Public and Community Engagement program at the University of
Connecticut, where he teaches the "Creativity + Social Change" course.
Dahlberg collaborates with artists, scientists, business people,
educators, nonprofit and government professionals, and others to help
people develop and apply their creativity. His work includes directing
international creativity and training conferences, teaching
undergraduate and graduate courses in creativity, helping toy inventors
launch a creativity consulting business, collaborating on participatory
public art projects, serving as an adviser to the Guggenheim Museum, and
teaching creativity to incarcerated men. He regularly contributes to
various media (including WNPR), edits the Applied Imagination blog, and
authored the foreword to Education is Everybody's Business.
http://www.appliedimagination.org

ABOUT HUNT HILL FARM:
Custom cooking classes, shopping, tasting, museum tours, slide shows,
and gallery talks are among the offerings for groups and tours visiting
Hunt Hill Farm. Located in the Litchfield Hills of western Connecticut,
Hunt Hill Farm has been the location of the Silo since 1972 -- a
combination cooking school, art gallery, and gourmet kitchenware/food
store. Now operating under the auspices of the Hunt Hill Farm Trust as a
nonprofit organization for preservation, the farm is also host to the
Skitch Henderson Museum and Hunt Hill Farm Land Preserve.
http://www.hunthillfarmtrust.org/

Top Global Thinkers of 2009 ... Who's on your list?

Who's on your list of important thinkers from 2009?

[December 2009 - Foreign Policy] The FP Top 100 Global Thinkers: From the brains behind Iran's Green Revolution to the economic Cassandra who actually did have a crystal ball, they had the big ideas that shaped our world in 2009. Read on to see the 100 minds that mattered most in the year that was. More (The List)

Making of Me: Creativity is vital in shaping our futures ... families are fundamental in developing it

[2 November 2009 - DEMOS (UK) - By Jen Lexmond and Shelagh Wright] Creativity and cultural engagement are essential ingredients in making our individual and collective lives rich. They are both key to developing and dependent on the social capital that is so vital in mobility and life chances. The terms creativity and culture are acknowledged as tricky to define, but the domains they describe, however disputed, are widely recognized as crucial to our futures. The Oxford English Dictionary defines creativity as ‘involving the use of the imagination or original ideas in order to create something’ and culture as ‘one, the arts and other manifestations of human intellectual achievement regarded collectively. Two, a refined understanding or appreciation of this. Three, the customs, institutions and achievements of a particular nation, people or group’. Many commentators and researchers have argued that creativity and culture make more prosperous and cohesive societies.They provide accounts of how talent flows and grows. What we have been less good at is understanding how to nurture that talent and potential in the first place. The role of families is fundamental. This paper looks at how families could be better supported and how we might get more from our existing investments in this area. We ask questions about what should be done as a stimulant for the kinds of ideas we need. More

Art and Its Cultural Contradictions

This essay raises questions about the role of the artist/creative engaging in neighborhoods, communities and cities. How do they participate and involve? How much time in the community "counts"? How can artists/creatives have the most meaningful impact?

[Autumn/Winter 2009 - "Art and Its Cultural Contradictions" in Afterall] PREAMBLE: A FLOOD OF QUESTIONS: What is at stake when artists, architects, curators, organisers and other cultural producers facilitate bricks-and-mortar change, on the ground in cities, with citizens, communities and institutions? How do we test the interrelationships between the practices of artists and urban policy makers? What is the metric that we might utilise to determine effectiveness? And what do we mean by effectiveness? Critical effect? (Or, for that matter, critical affect?) The putatively emancipatory outcome generated by some kind of new situational knowledge? Or, is it a question of generating ambiguity, per se, as a means of problematising hegemonic political, economic and cultural formations?

Is it conceivable to imagine that the cultural and intellectual capital of artistic labour can generate sustained, and sustainable, responsiveness to urban crises that would offer palpable functionality (or applicability) for people's lives - contra to the useful uselessness of the aesthetic condition that is supposedly ennobling of mind and spirit, or generative of disinterestedness as a prerequisite for absorption and contemplation? Have we taken into consideration that as art critics, art historians, curators and art theorists we might be misapplying criteria of aesthetic evaluation in relation to the evaluation of art projects that arise from sometimes uncomfortable, difficult circumstances? Is it perhaps just a question of re-calibrating our criteria of evaluation or, at the very least, how we communicate to others our experience of a specific work within a particular situation, so that criteria remain sufficiently fluid and tactical? What does it mean to encounter a work of art in the midst of economic and social ruination?

This essay seeks to raise such questions on the occasion of and in relation to a new biennial (Prospect.1) and a new cultural initiative (Transforma Projects), both of which emerged in New Orleans after the Hurricane Katrina disaster that in 2005 flooded 80 per cent of the city, and killed nearly 2,000 people, as efforts claiming to engage in the regeneration, rebuilding and revitalisation of various aspects of that city's cultural, economic and social life. Prospect.1 and Transforma Projects are distinct from each other in terms of ideological and organisational strategies and infrastructures: the former presenting itself as the first international biennial in New Orleans (i.e. event-oriented), with official support from local and state government and major art world benefactors, and a more conventional 'top-down' hierarchical curatorial/exhibition process; the latter operating as a small cultural initiative on an emphatically grass roots level, involving 'bottom-up' socially participatory processes (i.e. rethinking normative institutional hierarchies) to generate and utilise art projects as a means of facilitating social rebuilding within economically and socially disenfranchised communities in the city, yet also supported by major art foundations.

Authentic education is always experimental

An old blog post from "The Speed of Creativity" blog, but an important one worth revisiting. What examples of authentic education and learning are you leading? Participating in? Creating?

[8 April 2006 - The Speed of Creativity] In the educational, classroom environment, authentic education is always experimental. This is because teaching is an art, not a science. Many, many people sadly mistake the purpose of the educational enterprise as mere content transmission. Much of the curriculum standards which dominate the educational landscape today [...] are based on this faulty assumption. Like E.D. Hirsh, I agree there are some common things with which people should be acquainted in order to be “culturally literate.” I do not agree, however, that schools should take those “laundry lists” of names and events and seek to make kids memorize and regurgitate those facts on multiple choice examinations. I do not think an understanding of the need for “cultural literacy” should lead to a shallowing of the curriculum, which remains a mile wide and an inch deep. To the contrary, authentic teaching and learning should be ALL ABOUT learning in depth through engaging conversations and activities. To create this type of teaching and learning environment, it is implicit that teachers must experiment. Authentic teaching and learning are experimental activities because the environment of the classroom is inherently dynamical and chaotic, like global weather patterns. More

Facilitating Radical Graphics Campaigns - Beehive Collective Presentation at UCONN, November 2

Join the Beehive Design Collective's discussion on how they facilitate radical graphics campaigns and the meaning behind their work.
Monday, November 2, 2009
8:00pm - 10:00pm
Dodd Center, University of Connecticut, Storrs, Connecticut
Event Info on Facebook

Here are their words about the Plan Colombia campaign:
This graphic is the product of many intercambios about the issue of colonialism in the Andean Region of South America that took place between our collective and organizers over the spring of 2002 in Ecuador, Colombia and the U.S. These exchanges of information and inspiration were collaboratively sewn together into a quilt of images, that are organized into a circuit of progressions and contrasts that inform and engage the viewer throughout their journey of the graphic. The long history of colonialism in the Americas, currently manifested in the Andean Region as "Plan Colombia", is a strong metaphor of the multi-faceted destructive influences of U.S. foreign policy and corporate monoculture on a global scale. This graphic attempts to expose the lie of the drug war as a smokescreen for multinational corporation's interests in extraction of the rich biodiversity and natural resources of the Amazon and her peoples. It is an anti-war poster that speaks in the mythology of our times… the cancerous monomyth of corporate globalization, and its antibodies of grassroots resistance. In an attempt to overcome the tendency of images to simply portray "what we are against," this graphic illustrates this story in three "layers" to help the viewer experience the different aspects of an extremely complex, and brutal situation. The mission was to give an illustrated explanation of not just the nightmare, but to also give weight to the inspiring stories of hope, courage and struggle of those that are directly experiencing it. As North American youth that have endured the destructive and racist brainwashing of television, videogames, cultural appropriation and advertising imagery, our collective felt it was essential to produce this representation in collaboration with organizers in the Andean region, to get the story straight. The result, is thick with those voices. The tools produced from this collaboration are being distributed, as anti-copyright material, for use in campaigns in both the South and North of the Americas. More

The Beehive's mission: To cross-pollinate the grassroots, by creating collaborative, anti-copyright images that can be used as educational and organizing tools. In the process of this effort we seek to take the "who made that!?" and "how much does it cost!?" out of our creative endeavors, by anonymously functioning as word-to-image translators of the information we convey. We build, and disseminate these visual tools with the hope that they will self-replicate, and take on life of their own. More about Beehive

Steelworkers Form Collaboration with MONDRAGON, the World’s Largest Worker-Owned Cooperative

[27 October 2009 - United Steelworkers - H/T Len Krimerman] Pittsburgh -- The United Steelworkers (USW) and MONDRAGON Internacional, S.A. today announced a framework agreement for collaboration in establishing MONDRAGON cooperatives in the manufacturing sector within the United States and Canada. The USW and MONDRAGON will work to establish manufacturing cooperatives that adapt collective bargaining principles to the MONDRAGON worker ownership model of "one worker, one vote."

"We see today's agreement as a historic first step towards making union co-ops a viable business model that can create good jobs, empower workers, and support communities in the United States and Canada," said USW International President Leo W. Gerard. "Too often we have seen Wall Street hollow out companies by draining their cash and assets and hollowing out communities by shedding jobs and shuttering plants. We need a new business model that invests in workers and invests in communities."

Josu Ugarte, President of MONDGRAGON Internacional added: "What we are announcing today represents a historic first – combining the world's largest industrial worker cooperative with one of the world's most progressive and forward-thinking manufacturing unions to work together so that our combined know-how and complimentary visions can transform manufacturing practices in North America."

Highlighting the differences between Employee Stock Ownership Plans (ESOPs) and union co-ops, Gerard said, "We have lots of experience with ESOPs, but have found that it doesn't take long for the Wall Street types to push workers aside and take back control. We see Mondragon's cooperative model with 'one worker, one vote' ownership as a means to re-empower workers and make business accountable to Main Street instead of Wall Street."

Both the USW and MONDRAGON emphasized the shared values that will drive this collaboration. Mr. Ugarte commented, "We feel inspired to take this step based on our common set of values with the Steelworkers who have proved time and again that the future belongs to those who connect vision and values to people and put all three first. We are excited about working with Mondragon because of our shared values, that work should empower workers and sustain families and communities," Gerard added.

In the coming months, the USW and MONDRAGON will seek opportunities to implement this union co-op hybrid approach by sharing the common values put forward by the USW and MONDGRAGON and by operating in similar manufacturing segments in which both the USW and MONDRAGON already participate.

The full text of the Agreement is available online.

About MONDRAGON: The MONDRAGON Corporation mission is to produce and sell goods and provide services and distribution using democratic methods in its organizational structure and distributing the assets generated for the benefit of its members and the community, as a measure of solidarity. MONDRAGON began its activities in 1956 in the Basque town of Mondragon by a rural village priest with a transformative vision who believed in the values of worker collaboration and working hard to reach for and realize the common good.

Today, with approximately 100,000 cooperative members in over 260 cooperative enterprises present in more than forty countries; MONDRAGON Corporation is committed to the creation of greater social wealth through customer satisfaction, job creation, technological and business development, continuous improvement, the promotion of education, and respect for the environment. In 2008, MONDRAGON Corporation reached annual sales of more than sixteen billion euros with its own cooperative university, cooperative bank, and cooperative social security mutual and is ranked as the top Basque business group, the seventh largest in Spain, and the world's largest industrial workers cooperative.

About the USW: The USW is North America's largest industrial union representing 1.2 million active and retired members in a diverse range of industries.

Creating Cognitive Dissonance in the Classroom

In Ben Johnson's blog at Edutopia, he writes (17 September 2009): "Cognitive dissonance is created by a dedicated teacher who challenges the students' beliefs about their own capacity to learn." In the Creative Community Building program at the University of Connecticut, we seek to create such experiences in the undergraduate classroom (face-to-face and online). Consider signing up for any of three Spring 2010 courses to be offered in Storrs and Hartford, Connecticut, as well as online:

• Creativity + Social Change - Tuesdays in Hartford, Connecticut
• Community Organizing and Social Movements - Mondays in Storrs, Connecticut
• Introduction to the Co-Operative Movement: History, Philosophy and Prospects for the Future - Online
  

Creative Workers as "The New Untouchables"

What examples do you see in your community's schools, where creative thinking is being encouraged, taught and applied? Where are your kids most creative -- in school or out of school? What opportunities for being creative do you provide to your kids at home?

Before we can teach for more creativity in school -- which we absolutely should be doing -- we need to help teachers, administrators and parents rediscover their own creativity so that they can recognize and encourage it in others.

[20 October 2009 - New York Times - By Tom Friedman] That is the key to understanding our full education challenge today. Those who are waiting for this recession to end so someone can again hand them work could have a long wait. Those with the imagination to make themselves untouchables — to invent smarter ways to do old jobs, energy-saving ways to provide new services, new ways to attract old customers or new ways to combine existing technologies — will thrive. Therefore, we not only need a higher percentage of our kids graduating from high school and college — more education — but we need more of them with the right education. As the Harvard University labor expert Lawrence Katz explains it: “If you think about the labor market today, the top half of the college market, those with the high-end analytical and problem-solving skills who can compete on the world market or game the financial system or deal with new government regulations, have done great. But the bottom half of the top, those engineers and programmers working on more routine tasks and not actively engaged in developing new ideas or recombining existing technologies or thinking about what new customers want, have done poorly. They’ve been much more exposed to global competitors that make them easily substitutable.” ... So our schools have a doubly hard task now — not just improving reading, writing and arithmetic but entrepreneurship, innovation and creativity. More | Public Responses to This Column: "To Promote Creativity, Let’s Start in the Schools"