Tempeh is the new tofu… Contemporary art within contemporary managerial and institutional organization. Anti-unionism is the new transgressive. An oxymoron: union busting radicais. Liberal aesthetic governs. Disjointedness is evident. Not obvious. Abstracted through layering. Transparent, translucent, and opaque obstructions obstruct the obscure. BLM can now displace the dispossessed. Accumulated are the infrastructures of neoliberalism morphing as time shifts conditions. Conditions (of the) space. Discard after a decade was an interesting idea. An (“...the most important artist bests succeeds by liquidating his position vis-a-vis society.”) unrealized utopia. Entering at the exit: rows of branded t-shirts and mugs and books that cost as much as the part-time seller makes in a shift. The norm, though not yet normalized. Brunch people slop it up down the block where the conditions of contraction are a little more obvious to some after brunch people slop it down. Content is current. Post pandemic grants to support the marginalization exist alongside the for profit occupied land. Scan the qr code: “We acknowledge the genocide and continued displacement of Indigenous peoples during the colonial era and beyond.” Method is current. Praxis: commensal, symbiotic, parasitic. The container is contained.
The formal mission statement of The New Museum goes as follows;
“New Art, New Ideas”
But what is new art stemming from when the ideas are constantly being recycled and devised for presentation and monetization? The New Museum, though a champion in highlighting contemporary art by various upcoming artists with socially and politically fueled messages, has found itself at a crossroad between medium and message. Similarly, looking at the boundary conditions which inform the institution, there is an evident devient between its mission and the Museum. Considered one of the finest small museums in the country, The New Museum is routinely acclaimed for its exhibitions of contemporary art that push the boundaries of what other art institutions exhibit and promote for a greater cause. The question of how The New Museum abides by its mission statement must be considered, as generated controversy and apparent unethical incidents have been raised over the last decade since opening its doors on the Bowery. More recently controversy during the coronavirus pandemic by cutting its budget by $3 million, a sum that forced layoffs within the institution that seems to some as discriminatory and retaliatory.
The New Museum believes that contemporary art is a vital social force that advances questioning, learning, and working towards a better society.
What part of those values are actually valued? Critically investigating the institution, it was noted how much pride and emphasis went into the museum’s mission statement/values with little actualization occurring within the formal boundaries of the space. Though the museum exhibits important contemporary works that inform a general public without the connotation or exclusivity of a formalized art institution that is inaccessible to a certain public, their presentations seem performative and narrow-minded. While focusing on the present moment politically, socially, and economically, the Museum neglects the critical awareness it brings to these topics via its platform/spread. Only when change is asked for, the Museum provides a socially appropriate answer. For example, the BLM protests in 2020 forced many institutions to reevaluate how they operate and present to a viewership using their public presence for the betterment of others.
Recently I visited the New Museum and remembered how I had commented to a friend, “These galleries are awfully dark.” The space made Faith Ringgold’s life-size and larger-than-life size quilts seem like a small deal, or maybe the darkness of this confined space was so uncomfortable I found it hard to care, which was ironic for a gallery that boasted “a ceiling height of twenty-one feet with east and west skylights”. I remember thinking how stupid it was for the curators to draw the blinds shut to all of the skylights that lined the walls—skylights that were strategically positioned so the museum could be a “light and clean object”, according to the SANAA website. In fact, they had stated in a press release that they had “tried to play with dimensions and the way daylight falls in the spaces in order to allow the visitor to experience art in slightly different conditions on different visits, at different times of the day, in different spaces, without impeding the qualities of the art”, and yet I was pretty sure that the tapestries, tired and yellow from the artificial lighting looked equally as dull in the nighttime. I wondered if Kazuyo Sejima and Ryue Nishizawa of SANAA felt betrayed that their skylights were never utilized as they were designed, or upset that the building almost became a shell of its dynamic potential. Maybe they didn’t care after cashing in their cheque for the project. Did they have any right to be angry anyways? The blinds of course were not foolproof, resulting in an aggressive sliver of bright light from the 4pm afternoon sun that distracted and teased me from behind the walls of glass and metal.
I felt bad admitting later on that I barely remembered the contents of the retrospective exhibition because after a while, I became more interested in expressing my displeasure of the space I was navigating. This made me think about the museum as a host and a body that welcomed other bodies. When should these walls and windows be held as responsible as the artwork in making up my—and everyone else’s—viewing experience? In class one day, we spoke a bit about Bateson’s writing on form and substance. In particular, cybernetic systems, of which he argues that to “delineate systems is to draw the limiting line in such a way that you do not cut any of these pathways in ways that leave things inexplicable”, walls confining what is and isn’t part of the system. And yet, he acknowledges that most of these questions are entirely cyclical. Where do the boundaries start when I, an art goer, attempt to understand my experience in this particular exhibition? Is it the form of the art? The material of the tapestries? The artist? The historical significance of their addressed topics? Or could it also be the walls I’m bounded by? The light that’s being allowed (or disallowed) in the space? The way the floors take me around the institution? I don’t think I’m convinced that these white walls can afford to call themselves an objective canvas.
SANAA proclaimed that its main architectural vision when incorporating vast space and light was to convey an expansive openness; an openness “consistent with the openness of the New Museum.”. I guess it is true, both the space and The New Museum had all the parts and potential to be radically open, but it seems the blinds remain shut.
At a certain point, my unguided meandering across the galleries brought me to the top of a narrow, brightly-lit stairwell that bathed in sun from a glass opening on the side of the building. It felt like an accidental but necessary discovery after a few hours in dim artificial light. Ironically the thin stairwell felt larger than the galleries that it was connecting, with light streaking in and illuminating the white walls and ceilings. There was a small depression in the wall side of the stairwell where two of Faith Ringgold’s sculptures were displayed — one, of a wailing Black mother (The Screaming Woman), and the other, of Black children who had been murdered depicted as chess pieces on a pillion (Atlanta Children). The forms of these sculptures stood in stark contrast to the spilling light and openness of the stairwell. I lingered a little longer arguably because it felt comfortable to be able to see clearly, and hence took more of an interest in the wall text, which read: “This is a commemoration to all those wantonly slain in the dawning of life. Make it impossible for the sins of hate and indifference to persist in America. Stop child murders!”. Maybe it was the fact that this bright, empty stairwell conjured in my head a profound recognition of importance in this particular work, but I found it to be the most evocative work in the exhibition — its subject not like the other grand, heroic tapestries of Ringgold’s activist practice, but a real intersection of her existence as a woman, as a mother. I found it a shame it was tucked away in a stairwell that I had merely chanced upon unknowingly. Artwork and artist aside, I wondered if the spaces themselves were prioritised according to how important or visible they were. In that case, did they reserve this quiet inconspicuous staircase for works that needed breathing space? That aligned itself with the white, bright negative space? That didn’t deserve to share the room in ridiculously huge galleries? That was deemed acceptable to be overlooked in the grand scheme of The Exhibition experience? Maybe it didn’t matter and curators were being systematic and only considered works that were simply small enough to fit in the nook. Either way, it seemed I may have been most moved by what appeared to be an accident of a deliberate staging.
We noticed the dynamics and roles surrounding the word “New.” Looking at the performative vs. the practicing, The New Museum’s values in “believ[ing] that contemporary art is a vital social force that advances questioning, learning, and working towards a better society” lacks in its approach conferring with what “new” actually means.
1. Not existing before; made, introduced, or discovered recently or now for the first time.
2. Already existing but seen, experienced, or acquired recently or now for the first time.
The New Museum is an institution that prides itself on being unique compared to a traditional museum/high art institution because of its history. Founded in 1977 by Director Marcia Tucker when she noted new work by living artist were not easily assimilated into the conventional exhibition and/or collection structure of a traditional art museum, the museum’s birth stemmed from bringing scholarly practices of older institutions to younger and/or living artists and their work. The New Museum brought about their categorization of New additionally by being a center “for contemporary art made within a period of approximately ten years prior to the present.” The Museum presented the work of living artists who did not yet have broad public exposure due to the limitations of art institutions that lack accessibility to young upcoming artists that did not have the artistic credibility/credentials from another institution. To create a critical acceptance of this form of exposure, explicitly stating that the works displayed would be ten years before the present garnered the critical term “new” to be associated with this institution.
Perhaps the most significant difference between practice and performance is control. There is simply nothing too glamorous regarding actual practice. For example, practice focusing on a single objective for numerous hours until one masters the task. Practice is also a distortion of reality by drilling specific moves until it becomes an automatic function/reaction as a response. One must practice a performance until the response becomes automatic. In more recent years, there has been a shift in the term “new” regarding The New Museum. While the institution showcased various exhibitions and artists around social and political issues and expanded its variety of mediums, such as video, photography, and performance, to name a few, it has become embroiled in internal conflict. While championing their achievements in breaking the typical structure of the traditional art museum, we noted as a group that the concept of new was defiant. Looking to the boundary conditions internally and externally, the Museum’s value/mission statement aims to attract a certain demographic and assert a specific, typically social justice-oriented, mission statement all enclosed within a socially policed contemporary structure that aims to dismantle the traditional boundaries of what a museum looks like and how it functions. Each negates the other. The issue regarding the institution’s ‘newness’ attempts to encompass a particular representation in the traditional art museum while not being particularly new in its mission, ideas, and presentation.
— The term coined to describe the people that manage and operate The New Museum is one that encompasses, beyond a dedication to tasks that shape the experience of the art institution, a responsibility to uphold a legacy that began as a radical vision for an alternative model of art institutions.
“Cultural workers” is, therefore, a description of an individual that is doubly committed to “work” and to “culture”; an individual participating in a larger cultural sphere beyond “work”.
Intrinsic in the term “cultural worker” is hence also a sense of ambassadorship—almost a prestigious role of being a contributor or an influencer (however minute) of a certain culture, seeming to grant one access to a career that promises growth of creative and intellectual vitality.
This assumption here is twofold: 1) the establishment of a cultural significance tied to the role creates an imaginary cultural elite, and 2) work in this institution is reserved for the ones that are willing to be paid in ‘cultural currency’. What happens when a term like this is self-selecting in its recruitment process? Is there a potential for real and true diversity? Or does this simply suggest participation in a self-perpetuating elite, cultural world?
-Concrete but its like... sly concrete
-its like growing a tail -- like a tadpole
-Like a fedora
-Toes, with a fresh pedicure.
-It's in line with the museum's original values. Also considering the museum's reputation, it seems to be getting more attention by the creative community of NYC than perhaps other unionization efforts. Have other museums' staff tried to unionize?
-Shouldnt have to exist in the first place
-I have no comment on the unionization process
-Wondering post unionization how, through out the process, managements disposition and treatment of its workers/organizers effected the ability of those employees to remain at the institution or not?
-The museum is held by its reputation, history, and by the creative community that valorizes it as an alternative to traditional art institutions.
-a structure, a coded body, a certain language, 'important' pieces (what do we base importance off of?), boundaries of the term "museum" for certain groups of individuals,
-museum holds ideas art and people
-The museum holds the collective frustration with the art industry and allows it to diffuse and become repackaged as a politically impotent form of neoliberal "radicalism".
-contemporary works, modern architecture amidst historical prewar buildings on the bowery, their own interpretation of what is 'new' vs what is actually considered 'new,'
-innovation, radical ideas and art
-The inherent contradiction of the new museum is that it presents itself as an art institution that radically reworks existing frameworks guiding what an art institution can be. However, remaining at the whims of wealthy donors, the art industry, and museum patrons expecting a particular kind of experience, the museum actually ends up operating in a rather traditional fashion. As such, it can become a site of political mutation, where radical ideas and action are consumed by neoliberal institutional practices.
-newness, fair labor/cultural workers being exploited, architecture/expansion, funding structure
-their unionization process in lineau of their radical leftist ideas
-It's difficult to manage my perception regarding this praxis contradiction. Especially when I feel like I can't grasp the institution in a total way.
-The New Museum is like their spunky little brother -- it tries to look like it's rebelling against the norm but actually really looks up to them.
-regardless of its commitment to displaying contemporary works, they do not maintain a permanent collection nor are they any different from any other art institution as they still inherently uphold certain institutional/museum values that are coded in its structure/DNA
-The potential to be radical
-the new museum contrasts many classic art institutions by its structure, architecture and ideas
-New Museum is the consignment store next to the Bloomingdales and Saks
-sandpapering something to a rough grainy texture which can be smoothed out
-Fuzzy bristles like a scotch brite wire sponge
-Gravel like texture
Charles Beard, John Dewey, James Harvey Robinson and Thorstein Velben founded the New School a hundred years ago after becoming fed up with the rigid system that is higher education. Founded in 1919 the New School started out as the New School for Social Research and eventually expanded to five different schools included Parsons School for Design, Eugene Lang College of Liberal Arts, Mannes College of Jazz and COPA College of Performing Arts. In 1933 the New School had created a university in exile in order to enable young students to escape Nazi Germany The New School aimed to establish itself as a school where “students could seek an unbiased understanding of the existing order it’s genesis, growth and present working”
On the other hand the New Museum, much like the New School with its radical lefist ideologies was founded in 1977 by director Marcia Tucker who believed there needed to be a space for New York working artists to submit their work that did not fit into the traditional model of a standard art museum or exhibition. A safe space where people could escape to, in order to be their truest selves. The New Museum was one of the first museums to be exclusively committed to modern art since the Second World War. The very first exhibition at the New Museum was entitled “Memory” located in Tribeca. It wasn’t until July of 1977 that the New Museum relocated and inserted itself into the New School for Social Research on 14th Street and 5th Avenue. Shortly after the New Museum relocated and signed a long term lease in SoHo in the Astor Building. The New Museum was known for its focus on critical theory and postmodernism through the use of photography, film and video, painting, sculpture and performance art. It was not until the New Museum established its permanent home at 235 Bowery. Standing 5 stories tall the museum now includes a sky room, gallery spaces and even a theater.
The New Museum is a space for artists to be free just like the New School was a space for free thinkers.The New Museum was a space that included artists that had not been accepted by the wider public, similar to how the New Museum was a refuge from Nazi Germany. Both of these spaces were accepting of outsiders so to speak. I think the main similarity correlation between the New Museum and the New School other than the museum's brief occupancy at the New School itself is that both of these institutions are founded on radical ideas and aim to go against the grain.
[edited by Abby Dring]
Not unlike the New Museum, our affinity group underwent an expansion. With our initial affinity formations, we were able to gather (both collectively and individually) what individual members were interested in and understand how we fit together as a unit. In addition to our interests throughout our formations, we were able to discern individual members' dispositions as well as the disposition of the group as a whole. In some ways, this process was explicit and in other ways, this process was implicit. The addition of a new member a few weeks into the process prompted a shift in communication as well as internal interpersonal dynamics. Beyond the morphology of the group's internal dynamics, the external dynamics –the class– shifted with our expansion.
Internally, we experienced a fracture as a result of the joining. The fracture was indicative of a split in individual motivations in regard to the project. Originally there was a coordinated and unified engagement in our critical analysis of the New Museum. This engagement shifted to accommodate our new joining member. Emerging priorities, such as obtaining a sufficient grade with ease, or completing the project in the easiest way possible were now present within the group and its dynamics.
In Bion’s writing on “workgroups,” there is a basic assumption that group members are meeting to ‘do’ or work on a ‘shared mental activity,’ which, when unfulfilled, results in the type of internal split that we experienced. The internal fracture seemed to be reminiscent of our relationship to the New School as well as the frustrations we expressed and experienced surrounding the shift in group dynamics post joining. The affinity group was formed around a mutual interest in creating a space where group members could expect equitable participation from one another. As such, the disruption to this dynamic drew out and made visible the complexities of social dynamics in a broad sense. Dynamics that extend beyond the group's expansion.
The fantasy of a “utopian” space that reflects the kind of learning process we (original group members) desire was denied as a result of the dynamic shift in the joining. As the space dissolved, group members resorted to common defensive techniques used to differentiate themselves from the majority of The New School’s student body, overcompensating as a means to prove their difference.
Externally, this fracture manifested in challenges encountered throughout the project. To a certain extent, we attempted to navigate the challenges and communicate with each other. The majority of the group members were consistently invested and active in engaging in the task at hand. At times we ran into technical difficulties and scheduling/time constraints.
Some challenges included communicating issues to the group. A lack of communication led to a certain amount of strain within our group dynamic and overall parts of our collective work. Working to bandage challenges we encountered was complex. The dynamics of our in-person meetings became silent, awkward, unproductive, and painfully slow. In trying to repair the initial internal split that stemmed from a pervasive (and invasive) air of disregard with attempts to designate more concrete roles and tasks. These attempts were ultimately unsuccessful.
In relation to the class at large, our group simultaneously presented itself as an example of how tumultuous communication can lead to the fixation on internal dynamics, while also containing some of the most participatory members of our seminar sessions. We were consistently the most present group (as a whole).
Group Conversation Text Chain 2/24/22-5/9/2022:
[one group member felt uncomfortable with the inclusion of their messages so theirs have been redacted. Names have been redacted as well.]
[this is one of two group chats. while the following are messages from the chat including our whole group, the original group members maintained a separate chat that continued to be active throughout the semester.]
Hey guys it's ______ here!
thank u for making this
Has everyone gotten a chance to go to the museum?
I haven’t added ______ though
yup I managed to go! i haven’t penned down much just yet though but we definitely should meet soon
it’s ______ sorry meant to say
no i haven’t gone yet. i have a really busy day today but i’ll go tmw or Saturday morning i’ll have my info written up to share by Saturday night. maybe we can meet on zoom sometime on sunday to discuss the meta analysis and short presentation?
if that’s not ideal we can figure something else out ?
that's ok ______! will you guys be on campus on monday? we could meet then too
that sounds good to me — yeah i could do later in the day on monday
i won’t be and i think it wont be likely that ill be able to
you could zoom me in tho
we could also just zoom on sunday that works for me too
yeah that works!
ok let's wait on ______ and we can set a time
hey guys I just added ______!
when are you all free to call?
hi! thanks for adding me sorry i got confused and only checked milanote just now
don't worry about it!
did yall go to the museum yet?
I can make basically any time on Sunday
ok sunday good for me
I've gone but I haven't really written down anything yet
should we just set up a zoom for our meeting
yeah! I'm good with zoom
does anyone have times in mind?
all good the self writing component is small anyways , important part is to collate our work
only 1000w i believe
yeah it shouldn’t be to difficult to put together sunday/monday
alright maybe we could do sunday morning
and edit on monday if we need to discuss our presentation
or would you guys prefer night? either works for me!
maybe noon ish,
yeah that sounds good to me i don’t have a preference so up to you all
let us know if this is good for you ______!
that works for me!!
are we meeting at 1130 or 12?
either is fine for me
me too! should we do a zoom?
i can set it up
ok! thank u
i dont care about the timing
is 1145 ok?
______ is inviting you to a scheduled Zoom meeting:
just waiting for my laptop to load
still meeting at 4?
so sorry could we do like 4:30? Is that too late?
All good i just won’t be able to stay long!
thats fine w me
thanks guys I'll send the link then!!
______ a note on space and those staircases: where u found it solace i kinda found it like a void or like a non-space, if that makes sense!
i highlighted it in my notes below
should we send the assignment in?
yeah i think it’s fine
I've got another class at 12 on Tuesday!!
ok! I can submit it and ping alan on behalf of the group
i’ll do it at 430 if anyone wants to go through it once
I'll probably be there tomorrow honestly
hey hey 2 things 1. how did you all submit the individual analysis 2. do you all want to plan to meet after class Tuesday for a half hour or so to discuss what we’re doing the rest of the semester
Heyyy I emailed him the files
I've got another class at 12 on Tuesday!!
me as well!
word maybe zoom again then??
If we reeaallllly wanna investigate
Do you all wanna have a zoom over break ? I know ______ is outta town this week
i unfortunately do not have my laptop with me but could use my phone
notes are cool too!! whatever
I've fallen ill and don't think I'll make it to class today 😢 could you guys help me let alan know?
I'll see you all on Thursday!!
i have covid as of yesterday so i’m not gonna be there either
hope you all feel better
Aw shit take care ______!
Have a good provocation ______
yeah honestly sad i won’t be there today these readings were great
lol ty :)
feel better guys!!
will be missing you in class
I know :-(
Thank u! Also ______ your bahamas trip wtf 😭
i think its in milanote
Hey are you guys joining today
how are you doing ______
hey sorry my wifi keeps cutting out
one sec trying to fix it
sorry i think my cat unplugged my router lmao
gotta get my roommate to plug it back in cuz it’s in her room
Update us ______!
this lady cracks me up
its giving apple genius appointment
ok moriah go off
when do the speaking in tongues start
ok experimental movement in skims
im trying to hold back my laughter
hey hey how/when/where do you all want to meet tmw
some people have class right after right? does it make sense to meet at/near campus?
Yeah I do :( Do you guys wanna do this over brunch :)
haha im down
I feel like that might not be enough time
i have a noon class tomorrow
same i think 1030
yeah 10:30 is probably best
would you all like to go somewhere near campus or do a lil pot luck brunch deal
Yeah ok! do u guys know any places that will let us sit?
maybe grey dog would be good
they will let us work while we have food
im trying to think of other places
yeah i dont know any places I’m never in this area lol
but im down for whatever
grey dog is chill it’s a little cafe
sounds good let’s do it
potluck is so cute but only in theory I feel…
see u guys at grey dog at 1030 tmr!
hi running a lil late
me too - f train all fucked up of course
no worries i might also be a few mins late lol
Affinity group lol
hey y’all any updates on any work you’ve done? Do we have an idea of the correlation between floors of the museum and analytical sections?
hey ______, I honestly haven’t sat down to properly think about it beyond the lobby space. I’m kinda interested in taking either that or the stairwells
also, do we have class tomorrow in person?
it’s online tmrw
sorry been working
ahhh be diligent on the subway today y’all!
Oh my god 😭
good thing class is online
Me: literally in a train at a Brooklyn subway station otw to lang
Hahaha omg the everyday death threat in new york 💕
we decided yesterday that we are meeting as a group on zoom to discuss dynamics and the group systems during class time
what time do y’all wanna meet?
i’d like to get it done if we can
gonna be a gorgeous day lol
sorry gyys still in customs
been waiting for 40 mins already
i’m outside rn it’s totally insane
already uncomfortably hot lol
It's so hot
yeah what link are we using?
Lemme send it in a bit
should we hop on and ______ can join us later
yeah that’s what i was thinking
i’ll send it
still in line
im gonna kms lol
i got it!
been an hour
______ do u need it to be emailed?
i don’t think that will work
we’re talking about postponing rn
bc ______ not here either atm
are u guys free on Monday at 3pm to call?
im in class then :/
no worries we can meet at 4 if that works for you?
ok guys the plan is to pick one and write/research something by the end of next week!
hey! i don’t think anyone is upset that you joined the group as much as we are frustrated by your lack of engagement in our group meetings, general lack of enthusiasm about the project, and the way that you sometimes tend to derail productive conversations about what we’re doing. I understand that it is difficult to join a group midway through the semester, but the sense I have gotten from you is that you’re simply not interested in developing the project that we’re working on to begin with. What i will ask from you going forward is more than your mere presence, to bring ideas to the table that contribute the project so that it doesn’t fall entirely on us to direct you. We are a group — this is OUR project that we create together. When we’re discussing ideas for the final form, observations about the museum, or elements of our presentation, have something that you want to incorporate into the project to make it partially yours! If you’re simply not interested, that’s totally alright, i would just ask that you don’t piggyback on the work that we are doing to make something interesting and that we are proud of.
Hey ______ thanks for texting the group but yeah I don't think it's just about adding articles to the milanote. It's just a general attitude of caring and being present. I'm pretty sure in all of our meetings you have never said a single sentence relevant to the New Museum except that it's near your apartment. If you wanna contribute then I'd begin with just talking about the project and contributing any insights you have about it!
In our future meetings^
i’m not sure what you mean by ______ as well? could you clarify bc as far as i understand we all let you in the group. i understand that your frustrated with me or feel offended by my directness in the survey but im not down with your tone of passive aggression. i have been very open to talking with you about it and have done nothing but be straight forward with you.
everyone in this group has been very generous with their time and engagement (even in this text exchange!) and all that is expected is for you to reciprocate that in the group/it’s process and the work.
they have slides.
hey hey! Sent you all a survey your emails about the new musem if you can all fill it out in the next few days plz :)
Also guys fucking random but I just found out this is the size of Singapore compared to manhattan wtf
progress so far:
are we on zoom or in person tmrw?
let me check email?
(Links to an external site.)
______ should let u in
you need to be on wifi i think
it says lte on your screenshot
maybe try restarting your router?
Sorry I was so late guys! Ok for next Tuesday should we all try to come with a working draft of our sections?
______ I’ll also try to get u some sort of visual outline of how my sections should look before then if that helps you
ok so please everyone bring a decent draft of your writing so we can peer review
hey heyy a gentle reminder if u haven’t filled out my survey can you plz do that asap! need it for my section :)
you can go to the library and use computers, i think they even have laptops you can check out
you should check with the library at school they have laptops you can take out
lol my thoughts exactly
what do you mean our presentation is when it is there isn’t really a way to have an extension
i think she means to discuss tmw
oh got it got it
but ya our presentation is next week right?
i mean if you can just have an outline that we can at least talk about a bit that would be fine
yeah that would be good
bring something, doesn’t need to be polished or put together by any means
just wanna see ur ideas and what you’re thinking about saying
Yea an outline wld be good!!!
running a little late!!
how would everyone feel if we included our messages and blocked out names out ?
I would be ok with that!
whatever you guys feel is best, i dont care to have them named or not, but i do think anonominity would be appropriate since we are writing as a group vs singular
I think they are a good addition to our group dynamics section.. is there a way we could put in excerpts?
i also think they should be included. it’s good for the group analysis. could you explain a bit more why you don’t want to include them?
Sorry I can't Facetime lol
Well the texts won't be edited to force any narrative or anything, it's basically just whatever you texted unedited
I'm happy to have whatever I sent included anyways
Even if we don't include ________
if you don't feel comfortable i get it and we can perhaps find an alternative solution to our group dynamic addition to the project? maybe we can brainstorm alternates that could enhance how we analyzed this and worked towards solutions
zoom tomorrow correct?
hii were in the zoom breakout room!
_____ r u coming to class today ?
Hey yall we are meeting at 9 tomorrow?
thought it was tuesday
Fuck sorry ure right