The Mobile Academy, The Black Market for Useful Knowledge and Non- Knowledge (1999- ).

I. Participation
    a) These ‘forums’ are held in public spaces and are free, which make them extremely accessible and encourage the participation of many different types of people (ie: people that do not come from a ‘traditional’ academic background.
     b) There are a variety of topics and professionals for patrons to choose from for their free 30 minute information sessions.  The diversity of subjects (anything from word games to sex) also encourage participation/inclusiveness.

II. Political Sphere
     a) An “interest in impact” (which can be represented/ realized/ symbolized through the political realm.  What is the impact that privatized knowledge has on society? What impact would that knowledge have if it were accessible to all?
    b) If the world is a stage and life is theater, why can’t this act continue on? Why isn’t knowledge free?

III. Structural Alternatives
      a) ‘DIY’ alternative to education.  Free, participatory, non- hierarchal form of education.
      b)  Provides a creative solution as opposed to simply a representation of the issue.  The forums take place in traditional institutions (libraries, schools, etc.) but are completely free which challenge the traditional notions of privilege transference of knowledge.

IV. New Communication
       a) Involves ‘dialogic art’- art that uses conversation as a form of action.  Even though these events take place in a physical space, the impactful factor is the dialogue between the ‘professional’ and the ‘amateur’.
      b) The dialogue becomes the act of resistance. 

interesting little blurb on the piece: 

Juliete Aranda and Anton Vidokle, Time/Bank (2010- ).
I. Anti-representation
   a) Action as opposed to representation.  “Participation, sociality, and the organization of bodies in space”…
   b) “reaction to the alienating effects of the spectacle” … “an urgency to a matter as well as privileging the lived experience.”  Taking the ‘act as art’ (performance) outside the gallery and into the community gives priority to audience over institution (museum).

II. Participation
    a) “urban environment paired with confrontational histories tend to reflect the frustrations and resentments of the participants.”
    b)  The ‘confrontational history’ of capitalism inherently paired with growth is being questioned- the participation of so many people reflects the resentments with this system and provide a ‘collective voice’ made by ‘non-artists’.

III. Structural Alternatives
      a)  DIY alternative economy.  Utopian idea of ‘time banking’
       b) creative alternative with room for expansion.

interviews from the artists: 

our own community time banks: