![]() ![]() ![]() The book is intended as both a critical analysis and a practical handbook that speaks to and about the vast cohort of artistic freelancers worldwide, people who are currently looking for ways of moving beyond the structural conundrum of artistic networks, where everything that is solid melts into flows – and where nothing is certain except one’s own precarity. Thus, they are torn between promises of unrestrained mobility and looming poverty, their precarity only amplified by the global crisis caused by COVID-19. The majority of projectarians do not own much beyond their own capacity to circulate. By using the term ‘projectariat’, the book detours the classical Marxist concept to talk about the life and work of artistic freelancers – artists, curators, critics, academics, writers, technicians and assistants – who, in order to survive, have no choice but to make one project after another and many at the same time. The book addresses – in 66 accessible entries – the global circulation of contemporary art in the moment of its fundamental crisis. This chapter delineates the historiography of ‘An Illustrated Comic Alphabet’ and argues that while ‘An Illustrated Comic Alphabet’ has been viewed as a precursor to the more accomplished work of Kate Greenaway, it is better understood and appreciated as an innovative variation on illustrated versions of the rhyme ‘A is an Archer’, which first appeared in print in 1702. In 2017, it was featured in an exhibition about alphabet books at the University of British Columbia, ‘From Apple Pies to Astronauts’. The librarians there determined that Howard-Gibbon’s manuscript was the earliest known Canadian picture book, and it continues to be prized today. One hundred years later, the Osborne Collection of Early Children’s Books in Toronto received ‘An Illustrated Comic Alphabet’ as a donation. Howard-Gibbon, a young British woman, was working as an art teacher in the small town of Sarnia in Canada West when she created her manuscript. Decorated letters of the alphabet in red ink embellish each page, along with rustic branch borders. As long-term structures at the science-society-interface, RwLs might prove essential to facilitate research that is both transdisciplinary and transformative.In Amelia Frances Howard-Gibbon’s charming and deceptively simple pen drawings for her 1859 manuscript ‘An Illustrated Comic Alphabet’, small children dressed in adults’ clothing role-play pastimes and occupations set out in her hand-lettered text – the traditional rhyme ‘A is an Archer’, also known as ‘Tom Thumb’s Alphabet’. The chapter discusses whether and how to establish an RwL, bearing in mind the considerable extra effort a RwL requires. Understanding RwLs in terms of learning environments, interlinked learning cycles, and institutional learning processes helps deepen an understanding of learning in transdisciplinary research generally. A special focus is on learning mechanisms because learning in RwLs does not only describe the inclusion of formal and informal didactical settings it is also a goal dimension for RwLs, and a mechanism how experiments address their research and transformative goals. This chapter describes what RwLs are from a practical perspective, using “District Future - Urban Lab”, a pioneer RwL from Germany, as an example. RwLs are certainly not the only social labs, but they show methodological characteristics that set them apart, and make them well equipped to create an environment in which research, social innovation and learning thrive together, notably in formats such as real-world experiments. Real-world Labs (RwLs) are a support structure for transdisciplinary projects, both in terms of long-term infrastructure and continuous tasks beyond project timelines. ![]()
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