The second week of the Mellon School has, so far, seen us explore in greater detail some of the assumptions underpinning this year's theme of public humanities. Tuesday found us returning, in particular, to the question of who exactly constitutes the 'public' we keep referring to?... Read more about Questioning the "Public" in Public Humanities
On the first floor of the Harvard Art Museums in the Social Realism gallery is David Alfaro Siqueiros’ El Fin del Mundo. Red and orange flames creep from behind a large stone edifice, with a small and solitary human figure in the foreground, arms cast upward in a gesture of terror or helplessness. ... Read more about On crumbling edifices and what’s to be done.
Sarah Bay-Cheng’s visit to Mellon School 2018 offered attendees (are we Mellonites? Mellonheads?) an occasion to think seriously about the digital as framework through which to understand our efforts at public engagement. In brief, her lively talk sketched out the interplay between the persisting figure of the box set and interventions from the world of contemporary art and performance into our increasingly thoroughgoing digital culture.
On the first day of Carrie Preston’s seminar, we read a pedagogical exercise that appears in her book, Learning to Kneel: Noh, Modernism, and Journeys in Teaching. The activity, which Preston had conducted as part of a unit on Brecht’s “learning plays,” was designed to demonstrate how often students “submit to the authority of a teacher or ‘great writer’ like Brecht without recognizing that they are being asked to say yes” (156). Preston then requested that each of us share a pedagogical activity of our own for the class. Many members of the class have generously shared...