knowledges that are put to one side or invisibilised when modern disciplines are constructed and, therefore, are not legitimised and are excluded from institutional practices, where dominant, official knowledges are imposed. Foucault analysed these power relations on the basis of the birth of the prison, the hospital and the school. 6. I here apply the concept of cultural conversation that understands education as a continual cultural dialogue, as set out by Freire (1974) when conceiving pedagogy as a dialogic process or exchange, or as Fernando Hernández (2007) has suggested when it comes to structuring work projects in educational centres. I add the notion of negotiation to emphasise the work of continual restructuring and mediation implied by an educational policy with subjects or positions that are constantly (dis)agreed / negotiated. 7. Here there is a clear reference to the critical pedagogy of Freire (1974) and his work on globalising affairs. These are questions or problematics that attempt to link people’s everyday culture with the world. Education through generator themes connects people to other social problems with a view to more complex action. We can also find a clear reference to social creativity workshops (Villasante, 2002) as instruments for participative diagnoses and social transformation. 8. http://www.wochenklausur.at 9. This work method is based on a conversational format or one of dialogical aesthetics, following the term coined by Grant Kester (2003). 10. The reference to conflict and negotiation can be found in the section of the descriptor referring to the methodology and work in the context. 11. http://www.repohistory.org/circulation 12. Printed Matter is a bookshop managed by an independent non-profit organisation of artists in Manhattan. 13. http://www.teachersnetwork.org/teachnetnyc/mmeisler/ bleeding_edge.htm 14. The project was carried out in relation to The Institute for Collaborative Education coordinated by the digital art teacher Meryl Meister. 15. With artist Oscar Tuazon and teacher Andre Knight in City-as-School. 16. http://www.anothercupdevelopment.org 17. Available on the group’s web page: http://www.anothercupdevelopment.org/projects/detail/23 18. Concerning work in a multiple network, the thread of relations built by the project can be found on the last page of the notebook mentioned in note 17. This explains the project as a diagram with the various nodes or points of union of the project with the other collaborating networks or institutions, marking out their connections and the antagonisms implicit in them. 19. Ii would here like to point out the need for further research on the modes of cooperativism and collective work in the New School and the pedagogical proposals of civilian society in the Second Spanish Republic and first years of the Transition. We can find examples of these practices in the Institución Libre de Enseñanza, the Residencia de Estudiantes, the Universidades Populares, the Misiones Pedagógicas, the cooperative of the first Ikastolas or the Catalan language schools, the first youth centres (casales) or popular atheneums such as the Ateneu Nou Barris, to mention just a few examples. These practices give us another genealogy of critical pedagogy, located in our most recent history, by combining social movements, workers’ struggles, alternative schools and the first community movements of civil action. This approach allows us to revisit these experiences as spaces of collective critical pedagogy and as spatial practices of resistance.
20. http://www.areachicago.org/p/issues/6 21. To consult the series of lectures or infrastructures, as they themselves call them, see the AREA collective’s map in this publication. 22. http://chicagoatlas.areaprojects.com 23. http://www.stockyardinstitute.org/PedagogicalFactory.html 24. By “haptic” I am referring to the set of relations concerning contact between bodies that do not include visual or sound relations. In this sense, this is an active attitude of recognition of the contact between bodies and the collective body, as a form of producing other experiential and affective knowledges. 25. It should be emphasised that Internet is an important source of information, archiving and centre of resources in collective pedagogy projects, from Oda Projesi, to PLATFORM to WochenKlausur. We might also mention the examples of Aulabierta and AREA, which directly conceive their webs as pedagogical space or devices of the projects coordination. In the case of REPOhistory, this is crucial in the Circulation project, which was indeed presented as an interactive web platform in 1999. 26. A description of the term emergent exercise can be found in the introduction to the descriptor of Ala Plástica. 27. http://www.carbondescent.org.uk 28. The course’s web page is located in the group’s education section: http://www.platformlondon.org/bodypolitic.asp 29. Basing himself on the considerations of the scientist Francisco Varela, Villasante (2006: 133-136) describes enaction and enactive models as those that are activated in social backgrounds and emerge as situated, complex creative styles in continuous evolution and co-determination with elements of social practice. An enactive endeavour can therefore not be predefined according to a single model of logic, but drives “the creativity that makes new shared and socially viable contributions emerge from the common background” (Villasante, 2006: 135). 30. The operative organigram of DCPP can be understood from the sections on its origin and work methodology in its descriptor. 31. This magazine was sponsored by local boroughs, with the artists’ designs coordinated with the development of contents by the local resistance networks. 32. For example, together with other networks, Temporary Services founded Mess Hall, which is an independent, experimental cultural centre; or Ala Plástica at present works as an NGO with designers of bioregional plans.
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