The Lou Frey Institute/FJCC is HIRING CURRICULUM DEVELOPERS

Good morning friends!!! As you may recall, we recently were awarded a grant by the FDOE to develop curricular materials in support of the new K-12 civics and government benchmarks. In pursuit of this, we are hiring multiple positions! We are looking for three 6-12 curriculum developers and one K-5 curriculum developer, for a grant-funded position that would run through September of 2023. Note that this would start ASAP. We would LOVE to have you join us!

Photo by RONDAE

You can find more info about the K-5 position here.

Photo by cottonbro

And here is more info on the 6-12 positions!

Questions? Please feel free to email us at any time!

Positions close on March 24. Hope to hear from you!

And not interested in something full time? We are recruiting folks to do some stipend work!

ethics of sanctions, boycotts, and de-platforming

I am a steadfast supporter of Ukrainian resistance, and I encourage Ukrainian friends to skip this post if it feels like a distraction from their crisis. Still, those of us in noncombatant countries face subtle ethical questions that arise with all such conflicts. How we resolve these issues probably won’t have an appreciable impact on the war in Ukraine–and if we can affect the outcome, I would be biased in favor of choices that benefit the resistance. Instead, these are mainly questions about our own internal processes and principles.

Consider these cases:

  • The Metropolitan Opera is one of many cultural institutions that has announced that it will not work with pro-Putin Russian artists. The Met’s ban could affect soprano Anna Netrebko, who had demonstrated active support for the separatists in eastern Ukraine but who has also posted on Instagram that she opposes the war, while adding that “forcing artists, or any public figure, to voice their political opinions in public and to denounce their homeland is not right.” (From Javier C. Hernandez in the New York Times.)
  • There are calls to ban former German Chancellor Gerhardt Schroeder (a former leader of an EU and NATO country) from entering the UK. Of note: Schroeder is not only close to Putin and unwilling to criticize the invasion of Ukraine, but he was a director of the state-controlled Russian energy company, Rosneft.
  • “The Russian filmmaker Kirill Sokolov has spent the past week distraught at the horror unfolding in Ukraine. Half his family is Ukrainian, he said in a telephone interview, and as a child he spent summers there, staying with his grandparents. … Yet despite his antiwar stance, Mr. Sokolov on Monday learned that the Glasgow Film Festival in Scotland had dropped his latest movie, ‘No Looking Back.’ A spokeswoman for the festival said in an email that Mr. Sokolov’s film … had received Russian state funding. The decision to exclude the movie was not a reflection on the filmmaker himself, she said.” (From Alex Marshall in the Times.)
  • The Alliance of Science Organizations in Germany is one of the biggest science funders that has announced a complete ban on grants, events, and collaborations with Russia. Meanwhile, 5,000 people, mostly Russian scientists, including 85 members of the Russian Academy of Sciences, have publicly signed a strong anti-war statement. They will be affected by the German boycott.
  • Yelena Balanovskaya and her family hold a mortgage on their Moscow apartment that is dominated in US dollars, meaning that they cannot afford their payments and may lose their home. Nothing is said in the article about Ms. Balanovskaya’s political views.
  • Afghanistan is suffering a nightmare winter, and the sanctions targeting Russia may be making matters worse.

Although I strongly support the sanctions on Russia, I think the ethical issues are complex. We must navigate principles that are in some tension.

First, working with an individual can be a discretionary choice, and it may be appropriate to consider that person’s values. In general, you shouldn’t have to work with a racist–or a Putin-apologist–if you don’t want to. I serve regularly on search committees and would be hard-pressed to give my support to a pro-Putin job candidate, even if the position had nothing to do with politics, just because I wouldn’t want to work with that person. I think a refusal to engage with specific individuals is an exercise of freedom, just like their choice to express their opinions.

On the other hand, when an institution–even a small, private one–decides to include or exclude individuals based on their opinions, several hard problems arise. Suddenly, we are in the business of assessing people’s thoughts, and that can be invasive as well as unreliable. Tyler Cowan asks, “What about performers who may have favored Putin in the more benign times of 2003 and now are skeptical, but have family members still living in Russia? Do they have to speak out? Another question: Who exactly counts as Russian? Ethnic Russians? Russian citizens? Former citizens? Ethnic Russians born in Ukraine?” I would add: What about leftist critics of US imperialism who have justified Putin’s policies to various degrees over time? Would we ban editors of The Nation? And if we apply this screen to Russia/Ukraine, why not to other conflicts and injustices?

Slippery-slope arguments are sometimes classified as fallacies. Just because bad behavior falls on a continuum, it doesn’t follow that we should do nothing about any of it. But when the question is whether to work with individuals, it is morally imperative to employ clear and consistent standards. Such standards are difficult to define and maintain when everyone holds a unique constellation of opinions, and particularly when people may be afraid to say everything they believe.

Another problem with “de-platforming” or “canceling” individuals is the risk of reinforcing polarization. We can easily end up with homogeneously liberal cultural institutions (and even ordinary businesses), which then lose their ability to influence the illiberal people whom they have excluded. This is true of US universities, which risk alienating enough American conservatives that they undermine their influence over the culture. Likewise, do we want to undermine our own soft power in Russia by excluding Russians?

In a confusing time, it may be best to send the simple message that we are an open, pluralist society that does not fear abhorrent views or despise anyone because of their ethnicity–in fact, we oppose ethno-national prejudice of all kinds. To send that message may require continuing to work with some people whose views are actually abhorrent. Plus, there is always something to learn from the bad guys–even if it is only what they are thinking so that you know how to counter it better.

Although I have itemized several arguments against de-platforming people like Anna Netrebko (the soprano with the mixed political record), I am not sure where I ultimately stand on these matters. There is a case for refusing to work with individuals who hold odious views.

At first glance, it seems morally simpler to punish institutions for their odious policies than to punish individuals, such as sopranos, scientists, or Moscow apartment-owners. I have tried to apply this distinction when working with individual scholars from many countries, but not with or for their governments. However, the line between institutions and people is porous. Even a big bank is partly composed of small depositors. Even an individual scholar typically works for a state university. Even a free-thinking artist, like filmmaker Kirill Sokolov, may have taken government grants.

Turning to economic sanctions: they might work in this case, and they have the moral advantage of not directly killing people–as well as a lower risk of escalating to all-out or even nuclear war. However, for sanctions to succeed, they must inflict substantial hardship on a lot of people, including innocent civilians and even active opponents of the regime. It is much easier to rationalize causing economic hardship than using overt violence, even when the economic damage is devastating.

And sanctions may not work. If they don’t, then people like me who support them must take responsibility for the hardship. We mustn’t forget Yelena Balanovskaya and millions like her, including people in noncombatant countries like Afghanistan.

By the way, true dissidents and strong opponents of their own governments’ policies should welcome sanctions that affect themselves, so long as those efforts are likely to work. That may be true for the 85 Russian academicians who have signed the anti-war statement.

One possible solution is to focus as much as possible on the “oligarchs,” the Russian billionaires. They might have more leverage than other people (although the extent of their influence is debated); they are unlikely to suffer even if they lose a lot of money; and on the whole, their wealth has been ill-gotten in the first place. They are part of the problem, regardless of their opinions. Targeting oligarchs is central to the “Progressive Foreign Policy Response to the War in Ukraine,” which I find generally persuasive. As Henry Farrell says, perhaps sanctions that target the oligarchs can “be used to reshape the underlying systems of banking and finance that the current version of globalization relies on.”

But can we really target economic measures so that billionaires bear most of the cost, while also doing enough macroeconomic damage to affect the course of the war? I doubt it. Besides, we would want to influence oligarchs’ behavior, and that might (i suppose) require giving them a way out if they act better. In that case, what must an individual billionaire do to evade sanctions? Does one anti-war remark in English count, if it is hardly seen inside Russia? How about five anti-war social media posts in Russian? We are back to drawing lines across uneven terrain.

See also marginalizing views in a time of polarization; marginalizing odious views: a strategy

survey of Ukrainians’ motivation to fight

Pippa Norris and Kseniya Kizlova have crunched some numbers from the European Social Survey’s Ukraine sample (2,901 people) to investigate “what mobilises the Ukrainian resistance?

In autumn 2020, Europeans were asked: “Of course, we all hope that there will not be another war, but if it were to come to that, would you be willing to fight for your country?” About 70% of Ukrainians said yes.

That number isn’t especially meaningful on its own, since it is hypothetical. However, the correlates of the responses are interesting. As the table from Norris and Kizlova shows, Ukrainians were more likely to say they would fight if they felt patriotic, if they spoke Ukrainian rather than Russian at home, if they were confident in their government, and if they supported democratic values. Those are outputs of a statistical model, so they imply that each of these factors matters by itself. For instance, democratic values correlate with a willingness to fight when holding patriotism/nationalism constant. Also note that although speaking Ukrainian was a correlate of willingness to fight, 51% of those who spoke Russian at home said yes.

Since this was a question about personally taking up arms, it is not surprising that being male and younger correlated with positive responses. In general, the literature on nonviolent resistance suggests that it mobilizes people who are not young men.

Norris & Kizlova find regional differences, but not in a simple way. Indeed, the highest rate of willingness to fight was immediately adjacent to the Russian proxy “republics” in the east, followed by the Lviv area far to the west.

See also: civilian resistance in Ukraine, Russia, and Belarus; when a university is committed to democracy (about the Ukrainian Catholic University in Lviv); and why I stand with Ukraine (from 2015)

Introducing ‘Female Firsts’, Part of Our Civics in Real Life Series

Good afternoon, friends! We are excited to share this extension of our Civics in Real Life series, ‘Female Firsts’. Every week through the month of March, we will be sharing one page resources that discuss a significant figure, event, or location important to the role of women in civic life. Our first one is now available, and looks at Justice Sandra Day O’Connor!

Of course our regular CRL’s will continue every week (including this week’s on NATO, Russia, and Ukraine!)

civilian resistance in Ukraine, Russia, and Belarus

Yesterday, I posted about prospects for nonviolent resistance in Ukraine and in Russia. Perhaps “civilian resistance” is a better heading. That category would include throwing a Molotov cocktail or firing grandpa’s hunting rifle as well as classic nonviolent acts like marches and occupations. My point is not that civilian resistance is better than military defense, or that refraining from violence is–or isn’t–morally superior. I hope for every possible Ukrainian success on the battlefield. But I believe that civilian resistance also has real potential, and indeed, that resistance by Russian civilians offers the best hope in this dire situation.

So I will try to track relevant developments, although with no hope of being comprehensive.

  • This is Rob Lee’s thread of videos showing Ukrainian civilians successfully blocking Russian troops–evidence of courage and of Russian soldiers’ reluctance to kill.
  • This a thread by my Tufts colleague Oxana Shevel arguing that Ukrainian civilians will make the country ungovernable by Russian occupiers.
  • Alexei Navalny’s group is officially calling for civil disobedience against the war. OVD-Info is reporting that 6,494 Russians have been detained in “anti-war actions” since Feb 24.
  • Despite the incredible difficulty of organizing resistance in Belarus, there have been antiwar protests in several Belarusian cities.
  • When Ukrainian government officials express deep sadness about the deaths of Russian soldiers, they reframe the conflict as Putin versus the peoples of both countries. This framing invites Russian civilians to help end the war and creates the basis for reconciliation. It reminds me of the way Lincoln describes Confederate deaths in the Second Inaugural Address. He bears responsibility for these deaths as the leader of the North’s military effort, “upon which all else chiefly depends.” Yet he presents both sides’ losses as a shared sacrifice to end slavery and build a better society. Similarly, in honoring the Union dead at Gettysburg, Lincoln never mentions their bloody military victory (or the Confederates’ loss) but describes the soldiers’ sacrifice almost as if it had been nonviolent. In both cases–Lincoln and Ukraine–I presume the sorrow is genuine, but it is also a brilliant strategy.

I have no way of estimating the chances of success in any of these three countries, but guessing the odds is not our task. We should do everything we can to increase the probability of successful civilian (and military) resistance by contributing money, upholding the best examples, and advocating for support in our own countries and institutions.

On Ukraine, see also: prospects for nonviolent resistance in Ukraine and in Russia; why I stand with Ukraine (from 2015); working on civic education in Ukraine (2017); and Ukraine means borderland (2017)

On civilian resistance, see also: the case for (and against) nonviolence; self-limiting popular politics; Why Civil Resistance Works; the kind of sacrifice required in nonviolence.

Furtherfield: The Power of Art and Play in Imagining New Worlds

Here's a fanciful but almost-real scenario: the bees, squirrels, geese, bugs, trees, and other species of your local park have decided that they've had enough of human aggression and abuse. They're not going to take it anymore, and rise up and demand equal rights with humans. Through a series of interspecies assemblies, a treaty is negotiated to ensure that every living being in the local ecosystem can flourish.

This scenario is a "live action role-playing" (LARP) game devised by Furtherfield, a London-based arts collective as part of its stewardship of part of the Victorian-era Finsbury Park. Over the next three years, Furtherfield is inviting humans to don masks and play the roles of each of seven species in negotiating "The Treaty of Finsbury Park 2025" -- the name of the project.

By casting humans as beetles and squirrels attending Interspecies Assemblies as delegates of their species, the LARP aims to help people develop "empathic pathways to nonhuman lifeforms through play." There is even a Sentience Dial to help different species communicate with each other. Who knows, this process may actually make Finsbury Park a more lush and lively place?

This adventure in animism is just one project that Furtherfield has hosted over the past 25 years, most of which blend art, digital technologies, and social action in some creative fashion. In my latest Frontier of Commoning podcast (Episode #24), I speak with Ruth Catlow about Furtherfield's distinctive approach to participatory art as a way of thinking anew about the world.

Catlow, an artist, curator, and co-leader of Furtherfield, has been a guiding visionary for its many artistic projects since its inception in 1996. She helps orchestrate collaborations with various local, national and international partners -- but especially with ordinary people. The point of its many artworks and technology projects is to try to get us to see the world differently, and to honor the role of art in envisioning new futures for ourselves.

Most of Furtherfield's projects take place in its green space and gallery in Finsbury Park, London, and in various digital spaces that bring together artists, techies and activists. Local officials have invited Furtherfield to use the park as a participatory canvas for its artistic projects. Traditionalists might call the group an arts center, but Furtherfield playfully calls itself a "de-center" because its work is so outward-looking and network based.

Ruth Catlow

Furtherfield sees itself is a convenor of artistic experiments that engage people in clever, provocative, and playful ways. The explorations are deeply rooted in open source technologies and philosophies while striving to -- in Furtherfield's words -- "disrupt and democratize existing hegemonies" and "re-landscape the terrain."

For example, when countless Black Lives Matter protests were rocking the US and cities around the world, many people began to question why slaveholder-businessmen and military generals were honored with bronze statues in public parks. Furtherfield decided to open up a public conversation about who or what should instead be celebrated atop pedastals in the park.

The People's Park Plinth project invited artists to propose new people or things to be honored in the park. The medium for this conversation was the smartphone. People strolling in the park could scan QR codes affixed to trees or pedestals, and instantly watch a video about the spot in the park. In effect, the scheme turned "the entire park into a platform for public digital artworks [that] asks you to pick the one you want for your park," as the project described itself.

Anyone could vote on a number of proposed artworks. The one that won -- 'Based on a Tree Story,' by Ayesha Tan Jones -- won was an artwork that used QR codes on a tree to summon a video of the the tree sprite who lived there.  ("A site specific, sonic augmented reality encounter with a digital tree sprite that tells tales of the tree’s past, present and future.")

'Based on a Tree Story' artwork in Finsbury Park

The public voting for the artworks was itself quite novel. Rather than tallying just one vote per person for the preferred artwork, each participant was given a number of votes that could be spread among as many artworks as they wished. This scheme, called "quadratic voting," doesn't just calculate which project gets a majority of votes, but rather indicates which ones people feel most passionate about. The system is meant to overcome the "tyranny of the majority" problem that overrides minority voices, and cases in which strong factions act as spoilers.

One of Furtherfield's more intriguing roles has been to host a laboratory and series of debates among artists and techies about how blockchain software could help reinvent the arts in an age of networks. The point was to explore how the cultural sector could develop "pathways to peer-produced decentralised digital infrastructures for art, culture and society – in particular through Decentralised Autonomous Organisations (DAOs)...." 

Furtherfield has wanted "to end gatekeeping and elitism in the artworld" and "bring this spirit of deep and radical friendship as a way to build resilient and mutable systems for scale-free interdependence and mutual aid." But it also wanted to move beyond the libertarian individualism that animates so many DAOs in the tech sector. 

Two books have resulted from Furtherfield's convenings: Artists RE:thinking the Blockchain (2017), about critical artistic engagement with blockchain; and Radical Friends, an anthology to be published in May 2022 about the hazards of digital autonomous organizations (DAOs) in the art world and commons-based DAO alternatives. (Furtherfield's alternative goes by the acronym DAOW, which stands for "DAOs with Others.")

You can listen to the podcast conversation with Ruth Catlow here.

Furtherfield: The Power of Art and Play in Imagining New Worlds

Here's a fanciful but almost-real scenario: the bees, squirrels, geese, bugs, trees, and other species of your local park have decided that they've had enough of human aggression and abuse. They're not going to take it anymore, and rise up and demand equal rights with humans. Through a series of interspecies assemblies, a treaty is negotiated to ensure that every living being in the local ecosystem can flourish.

This scenario is a "live action role-playing" (LARP) game devised by Furtherfield, a London-based arts collective as part of its stewardship of part of the Victorian-era Finsbury Park. Over the next three years, Furtherfield is inviting humans to don masks and play the roles of each of seven species in negotiating "The Treaty of Finsbury Park 2025" -- the name of the project.

By casting humans as beetles and squirrels attending Interspecies Assemblies as delegates of their species, the LARP aims to help people develop "empathic pathways to nonhuman lifeforms through play." There is even a Sentience Dial to help different species communicate with each other. Who knows, this process may actually make Finsbury Park a more lush and lively place?

This adventure in animism is just one project that Furtherfield has hosted over the past 25 years, most of which blend art, digital technologies, and social action in some creative fashion. In my latest Frontier of Commoning podcast (Episode #24), I speak with Ruth Catlow about Furtherfield's distinctive approach to participatory art as a way of thinking anew about the world.

Catlow, an artist, curator, and co-leader of Furtherfield, has been a guiding visionary for its many artistic projects since its inception in 1996. She helps orchestrate collaborations with various local, national and international partners -- but especially with ordinary people. The point of its many artworks and technology projects is to try to get us to see the world differently, and to honor the role of art in envisioning new futures for ourselves.

Most of Furtherfield's projects take place in its green space and gallery in Finsbury Park, London, and in various digital spaces that bring together artists, techies and activists. Local officials have invited Furtherfield to use the park as a participatory canvas for its artistic projects. Traditionalists might call the group an arts center, but Furtherfield playfully calls itself a "de-center" because its work is so outward-looking and network based.

Ruth Catlow

Furtherfield sees itself is a convenor of artistic experiments that engage people in clever, provocative, and playful ways. The explorations are deeply rooted in open source technologies and philosophies while striving to -- in Furtherfield's words -- "disrupt and democratize existing hegemonies" and "re-landscape the terrain."

For example, when countless Black Lives Matter protests were rocking the US and cities around the world, many people began to question why slaveholder-businessmen and military generals were honored with bronze statues in public parks. Furtherfield decided to open up a public conversation about who or what should instead be celebrated atop pedastals in the park.

The People's Park Plinth project invited artists to propose new people or things to be honored in the park. The medium for this conversation was the smartphone. People strolling in the park could scan QR codes affixed to trees or pedestals, and instantly watch a video about the spot in the park. In effect, the scheme turned "the entire park into a platform for public digital artworks [that] asks you to pick the one you want for your park," as the project described itself.

Anyone could vote on a number of proposed artworks. The one that won -- 'Based on a Tree Story,' by Ayesha Tan Jones -- won was an artwork that used QR codes on a tree to summon a video of the the tree sprite who lived there.  ("A site specific, sonic augmented reality encounter with a digital tree sprite that tells tales of the tree’s past, present and future.")

'Based on a Tree Story' artwork in Finsbury Park

The public voting for the artworks was itself quite novel. Rather than tallying just one vote per person for the preferred artwork, each participant was given a number of votes that could be spread among as many artworks as they wished. This scheme, called "quadratic voting," doesn't just calculate which project gets a majority of votes, but rather indicates which ones people feel most passionate about. The system is meant to overcome the "tyranny of the majority" problem that overrides minority voices, and cases in which strong factions act as spoilers.

One of Furtherfield's more intriguing roles has been to host a laboratory and series of debates among artists and techies about how blockchain software could help reinvent the arts in an age of networks. The point was to explore how the cultural sector could develop "pathways to peer-produced decentralised digital infrastructures for art, culture and society – in particular through Decentralised Autonomous Organisations (DAOs)...." 

Furtherfield has wanted "to end gatekeeping and elitism in the artworld" and "bring this spirit of deep and radical friendship as a way to build resilient and mutable systems for scale-free interdependence and mutual aid." But it also wanted to move beyond the libertarian individualism that animates so many DAOs in the tech sector. 

Two books have resulted from Furtherfield's convenings: Artists RE:thinking the Blockchain (2017), about critical artistic engagement with blockchain; and Radical Friends, an anthology to be published in May 2022 about the hazards of digital autonomous organizations (DAOs) in the art world and commons-based DAO alternatives. (Furtherfield's alternative goes by the acronym DAOW, which stands for "DAOs with Others.")

You can listen to the podcast conversation with Ruth Catlow here.