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“Central Saint Martins is one of the world’s leading centres for art and design education, a reputation based around the achievements of its graduates and the creative energy of its current staff and students. The College brings a broad range of art and design activities together in an extraordinary new building, voted the world’s best higher education building in 2012. The building allows the exchange of ideas and techniques across disciplines, acting as a huge workshop of thinking and making, underpinned by a strong research base and exceptional technical resources. These programmes share an approach of exploring the boundaries of their discipline; our students and staff are continually curious and always restless in developing beyond the accepted norms of their subject, so the work emerging from Central Saint Martins is at the forefront of its area. The College inspires its students and staff to be alert to new approaches and ideas; the resulting journey can be challenging but is never dull. This forward-looking approach places Central Saint Martins at the heart of London’s dynamic creative scene. All of our courses have strong links with practice and industry through visiting lectures, live projects and tutors who are leading practitioners. In any one month numerous people, events and exhibitions pass through the College, enriching the core curriculum in multiple ways and making it a major force in the art and design world. Students from all over the world come to join us in this exciting adventure. You could be the next. Be brave and do what you love.”

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school

[noun] 1 an institution for educating | [as adj. ] school supplies. • the buildings • [treated as pl. ] the students and staff • a day’s work; lessons guarative used to describe the type of circumstances fi • [with adj. ] • informal another term for university . • a department or faculty of a college concerned with a particular subject of study 2 a group of people, particularly writers, artists, or philosophers, sharing the same or similar ideas, ed character fi methods, or style • [with adj. ] a style, approach, or method of a speci y formal fl verb [ trans. ] chie • train or discipline (someone) in a particular skill or activity PHRASES leave school discontinue one’s education : he left school at 16. of (or from) the old school see old school . the school of hard knocks see knock . school of thought a particular way of thinking, typically one disputed by the speaker : a school of thought that calls into question the constitutional foundations of this country. ORIGIN ‘leisure, philosophy, place where lectures are ē l, scolu, via Latin from Greek skhol ō Old English sc given,’ reinforced in Middle English by Old French escole. school 2 noun sh or sea mammals. fi a large group of verb [ intrans. ] sh or sea mammals) form a large group. fi (of le, of West Germanic ō ORIGIN late Middle English : from Middle Low German, Middle Dutch sch origin; related to Old English scolu ‘troop.’ Compare with shoal 1 . (OR) ENACTING A UTOPIC VISION ON SCHOOL GROUNDS UNIT -------------------------------------------------------------------------------------------------------- WHOLE PINT OF BLOOD ---------------------------------------------------------------------- CIRCULATORY SYSTEM PIECE ----------------------------------------------------------------------------------------------- ASSEMBLAGE This is not a support group, a self-help or after school club; it is merely an experiment in seeing how we might all learn and act differently--how we might come together to change the environment in which we are all a a part.

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“[Remember] don’t overlook the crevice that parallels the stream flow...it too can hold gold, especially at points where it narrows, bends, or has been blocked by an obstruction.”

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calvert 22 journal cover + reverse

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Oct 22 2014: Artscom offices

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Earlier in the SOUP cart w/ Silvy

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Property of K001

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SOUP (socialising outside university prescriptions)

In a building where the windows won’t open and the only way out is the way you came in; where the floors and the walls aren’t allowed a coat of paint nor even a nail; where wandering is hemmed in by locked doors and keycard access; where ‘dangerous’ kettles mean tea can be bought, but not made; we are surely all healthy and safe but is this the radical hotbed of critical thought? We are asked to be ‘critical’, and certainly assessed on our ‘criticality,’ but in a school where even3rd years speak of never having entered the wood or metal shops for fear of feeling out of place; where a group critique means two students and a tutor speaking while the other 13 sit in silence, three of whom we’ve never seen before. When the cost of all the above is just shy of the downpayment on a Zone 4 house, perhaps we should turn our “criticality” toward our own education. What would it mean to collectively reimagine and reinvent our education and its environment? Might it be possible to think of ourselves in other terms than independent producers or cultural entrepreneurs? What might it look like to erode the distinctions between class years? What might a collective practice look like? What of a collective dissertation? Is unitised, isolated learning the sole option? This project is not an exercise in revolt or opposition, but rather an exploration in parallel— one that rewrites the existing patterns of interactions in spaces, and acts as a mirror in which we examine our assumptions about what it means to be where we are, doing what we’re doing. If we can’t have a ‘dangerous’ kettle, then perhaps we can re-label it as ‘participative sculpture.’

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Architectural plans to Central Saint Martins, London

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Architectural plans to Central Saint Martins, London

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Architectural plans of the Central Saint Martins, London

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