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Maxine Greene (1995) writes:

"The role of the imagination is not to resolve, not to point the way, not to improve.  It is to awaken, to disclose the ordinarily unseen, unheard, and unexpected" (p. 28)

In this age of constant information and busy lives, it's difficult to get teachers and parents to read large amounts of research, or to understand the importance of boycotts, resolutions or petitions. The information we wish to share regarding the ill purpose and effects of corporate ownership of education must be expressed using all of the senses, in our bodied actions-instantaneously and with the emotion it warrants. As Nick Sousanis considers, we have to remember that conception (i.e as what we believe, what we think of as "real") largely comes through our perception (i.e what we see with our eyes and how we construct meaning).

Greene writes that through the "art of knowing"-"The experience and knowledge gained  by this way of knowing opens new modalities for us in the lived world; it brings us in touch with our primordial landscapes, our original acts of perceiving" (p. 149).

We need to redesign the social landscape with new images, new stories, new ways of understanding what corporate reform "is" and how it works.  What we need is action-creative action collectively inspired in local communities and through national organizing-to UNFLATTEN our worlds.

The Kress Foundation funded research to help clarify perceptions on digital scholarship and art history! I can only imagine the creative community being equally aghast and confused about earth art, conceptual art and performance art (among others). Wild to think about. We keep marching forward. "The findings reveal disagreements in the art history community about the value of digital research, teaching, and scholarship. Those who believe in the potential of digital art history feel it will open up new avenues of inquiry and scholarship, allow greater access to art historical information, provide broader dissemination of scholarly research, and enhance undergraduate and graduate teaching. Those who are skeptical doubt that new forms of art historical scholarship will emerge from the digital environment. They remain unconvinced that digital art history will offer new research opportunities or that it will allow them to conduct their research in new and different ways."

"Once you present OER to faculty, there's a real affinity and alignment of OER with faculty values. Jeff was surprised more about the potential of OER than he had thought going in. Unlike other technology-based subjects of BSRG studies, there is almost no suspicion of OER. Everything else BSRG has measured has had strong minority views from faculty against the topic (online learning in particular), with incredible resentment detected. This resistance or resentment is just not there with OER. It is interesting for OER, with no organized marketing plan per se, to have no natural barriers from faculty perceptions"

"My friend had filled the day. He was busy. But the things that made him busy were the result of his own decisions. He didn't lack the time to read. He was simply choosing not to. Throughout the day, we face a number of decision points about how to spend time. Too often we approach these decisions passively, as if our hand were being forced, our free will compromised. Let me add one caveat: if you have young children, a brutal commute or juggle several jobs to make ends meet, you are exempt from everything I write in this piece. You are truly busy."