By Bureau for Open Culture
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Additional info for Descent to Revolution
Especially within a culture that prides itself on control and the aforementioned myth of the clairvoyant artist. It’s easy to read that as not getting work done, being slack or lazy. It took me a long time to get to the stage wherein I could comfortably disagree with that assessment. But for me, now, it seems as if the completion of projects—when in your heart-ofhearts you know that they aren’t needed to make the project whole— seems like waste, something entirely unnatural to the notions of the project at hand.
It’s a large part of what we do. The social portions of the projects take up So, though tons of people came in and out of the project(s) during our theme of the practice. In this light we all prefer to nurture people into from it—there really was a core group that took to the ideas and ran a large percentage of the action, and therefore are seen as the dominant the process who feel inclined to do so. This involves actually listening to people rather than trying to tell every soul in the world about what you’re up to like some second-rate used car salesman.
This process of 12 of the projects in full. I feel like our projects have gotten so much more institutional education. Sam and I both have conﬂicted histories with addition is in constant dialogue with the negation of certain elements can be done without the resources or even the methodologies of nuanced as time has gone on, and we’ve played around with the our own personal engagements with Universities and public education. 91 What I ﬁnd funny is the ability to see Surplus Seminar as oppositional, or a critique of higher- or organized education.
Descent to Revolution by Bureau for Open Culture