Introduction

Author(s):  
Christo Sims

This book examines how a technologically cutting-edge philanthropic intervention—in this case, the attempt to redesign the American school for the twenty-first century—ended up mostly remaking the status quo. It presents a case study of the Downtown School for Design, Media, and Technology in Manhattan, New York City. The Downtown School was launched in 2009 by an expert team of media technology designers, academic specialists, and educational reformers with a single sixth grade class. The school was envisioned as a “school for digital kids,” and it would equitably and engagingly prepare young people for the increasingly interconnected and competitive world and job market of the twenty-first century. The book considers the problems encountered by the Downtown School and what perennial cycles of techno-philanthropism—what it calls disruptive fixations—manage to accomplish—politically and for whom—even as actual interventions often fall far short of their stated objectives.

2013 ◽  
Vol 138 (1) ◽  
pp. 129-174 ◽  
Author(s):  
Matthew Pritchard

AbstractThis article examines a range of writings on the status of musical interpretation in Austria and Germany during the early decades of the twentieth century, and argues their relevance to current debates. While the division outlined by recent research between popular-critical hermeneutics and analytical ‘energetics’ at this time remains important, hitherto neglected contemporary reflections by Paul Bekker and Kurt Westphal demonstrate that the success of energetics was not due to any straightforward intellectual victory. Rather, the images of force and motion promoted by 1920s analysis were carried by historical currents in the philosophy, educational theory and arts of the time, revealing a culturally situated source for twenty-first-century analysis's preoccupations with motion and embodiment. The cultural relativization of such images may serve as a retrospective counteraction to the analytical rationalizing processes that culminated specifically in Heinrich Schenker's later work, and more generally in the privileging of graphic and notational imagery over poetic paraphrase.


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