„DER FACHIDIOT?”: The Paratechnic in the Monotechnic' (Provocation Paper)

„DER FACHIDIOT?” : The Paratechnic in the Monotechnic 13:30 Provocation Paper for CHEAD, ‘Agents of Change: Art School & Universities’ 
Since the early ’60s, increasingly integrated paratechnical curricula have been (begrudgingly) hosted by monotechnical art and design schools. I outline the key characteristics and limitations of the (modernist) monotechnical art and design curriculum and give some examples of different integrated paratechnical tactics and strategies. From this, I suggest that the paratechnic attempts to pursue the following qualities: 
Diversification of methods and communities of practice Externally-networked dissensus (Bill Reading’s ‘University of Dissensus’) 1:1 scale immediation (non-representational) Ludic, adaptive flow Paragogical cooperation and collegiality 
An opportunity lies in admitting that the monoculture of art and design education – its internal ethics – still nurtures modernist assimilation and bias, and that, in preventing art and design from realising its educational potential, fachidiots place their own field at risk of redundancy. From this we may begin a productive transformation of the art school’s communities of practice (its variety of staff and students) and their relations with international communities of purpose. 
About CHEAD 2016:Art School – Location – AgencyHenri Lefebrve predicted that the future of art is urban. Stuart Hall summed up postmodernism as ‘modernism in the streets’. The arts and the city seem to go hand in hand. The city has become established as the site of art, its production, distribution, acquisition and consumption, indeed a key framework of reference. In the 20th century, the metropolitan environments of New York, London, Berlin or Shanghai were considered to be the site of the most dynamic cultural exchanges, the home of cultural industries alongside economic focus and growth. The global, incessant and accelerated shift of populations from rural to urban areas which has led to the emergence of super cities like Mexico City, Tokyo, Delhi, or the megapolis of the Pearl Delta River crystalizes the growing importance of urban spaces for the creative economy. Urbanisation has shaped mainstream arts education from the founding of Royal Academies and their Schools based on the models of the Ancient Athens to the Schools of Design situated in the large manufacturing city centres of the UK.Where does this leave the regions, its university campuses, art schools and other creative and education communities?The forthcoming annual CHEAD conference aims to explore a contributing set of visions concerning the dynamic of the art schools in the regions. These include:The regional universities including their art schools are often the biggest employer in the area. They are based on large and thriving campuses that have seen substantial investment in buildings and facilities over the last decade. They are networked in to the cultural establishment and local movers and shakers, The Arts School in the smaller cities and towns supports its graduates who stay locally and the communities of practitioners they form. It has a real impact on the economic wealth, social well-being and cultural activities of the locale.The on-line arts communities share ideas and operate as digital entrepreneurs in cyberspace. Non-profit platforms such as the Creative Commons and social networks enable the sharing and use of creativity and knowledge across the globe. How does this affect the work and agency of regional art schools?