Enter Here Ap: S a Verb

PERFORMING THE CAMBRIDGE COMMON ISSUE 3 / 4 Conversation: the An icon: as a verb ACCESS language of the Common

The “commons” is a place of shared Common Exchange is a series of 1 Cesare Casarino and Antonio Negri, In Transforming the International knowledge and resources while temporary art installations and Praise of the Common: A Conversation on Symbol of Access (ISA) into also being a contested area of performances presented in one of Philosophy and Politics (Minneapolis: an active, engaged image, the University of Minnesota Press, 2008). collective action and possibility; the nation’s oldest common greens, Cambridge-based project of Sara it is the term by which we legally the Cambridge Common. Orga- 2 This history of shared grazing space has Hendren, Brian Glenney, and Tim A PUBLIC ART frame our public rights and hold our nized in honor of the park’s recent also spawned social and economic theories Ferguson-Sauder has the power to PROJECT PRESENTED democratic freedoms. It is the locus pathway renovations, each project of misused resources in unregulated systems. change more than the icon itself. See Garrett Hardin, “The Tragedy of the of dialogue itself; as philosophers that constitutes Common Exchange BY CAMBRIDGE ARTS, Commons,” Science 162, no. 3859 “History shows that the shape and Cesare Casarino and Antonio Negri reiterates the park’s physical and (December 1968). form of what we see and hear does CITY OF CAMBRIDGE remind us, “Conversation is the ideological function as a connective work on our cognitive understand- language of the Commons.”1 The space, one defined by the exchange ing of the world, and hence the “Common” (notably missing the s) of ideas, words, and things, a space meaning we make of it. The language is the physical manifestation of of conversation. of symbols [has long been used] to —Sara Hendren, Brian Glenney, and this idea in space, publicly shared Over the course of the summer, persuade, to question, to force. We Tim Ferguson-Sauder, Accessible A and historically a field of grass at time-based and participatory works want to be on the bottom-up, rights- Icon Project a city’s center used for collective will occupy the Cambridge Common expanding, power-rebalancing livestock grazing.2 FEATURED ARTIST to address connectivity and ex- tradition of that history.” The Common—as both a literal change in the twenty-first century, and conceptual site—is defined moving from interpersonal to com- PAUL by gathering, exchange, and the munal and historical relationships. multitude of voices and actions The public remains the central For every complex and difficult RAMIREZ that take place within it. In effect, figure in these works to emphasize the Common is the landscape of that it is participation and public ACC JONAS citizenry and a place defined by discourse that ultimately shape our problem, there is an answer that dialogue, between people, cultures, civic spaces. and histories, that can echo the —Dina Deitsch, Curator best and worst of our civic states. —H. L. Mencken is simple, easy, and wrong. FEATURED ARTIST

CARMEN

age taste, sulfur, ionone, mirage, pressure, face, continuous, feet, sonar, eyes, chalkboard, touch, cryogenics, cones, earthquake, pitch, light, sweat, ) ) 81 ) 76 ) 74 ) 73 ) 71 ) 68 ) 67 ) 65 ) 64 ) 60 ) 59 ) 57 ) 56 ) 54 ) 53 ) 52 ) 48 ) 46

fat, fat, onion, sodium, stethoscope, stirrup, carbohydrate, Beethoven, onomatopoeia, dermis, musk, endorphins, chord, skunk, perspective, novocaine, dissolve, ) ) 45 ) 43 ) 42 ) 40 ) 39 ) 35 ) 33 ) 31 ) 26 ) 25 ) 23 ) 18 ) 16 ) 14 ) 13 )

12 PAPALIA

unassisted, unassisted, rosemary, danger, vulture, salt, DOWN: wedge exhale, blue, toccata, smell, iris, sweetness, cricket, sauerkraut, notepaper, touché, camouflage, ) ) 10 ) 9 ) 8 ) 7 ) 3 ) 1 ) 82 ) 80 ) 79 ) 78 ) 77 ) 75 ) 74 ) 72 ) 70 ) 69 ) 66

ethereal, ethereal, sow, gooseflesh, ultrasound, bathtub, moving, Cézanne, ventriloquist, soundproof, chant, saliva, eucalyptus, whiskers, sun, pinguid, oscilloscope, ) 63 ) 62 ) 61 ) 58 ) 55 ) 51 ) 50 ) 49 ) 47 ) 44 ) 41 ) 38 ) 37 ) 36 ) 35 ) 34

pink, pink, sweet, pupil, equilibrium, bitter, chocolate, vanilla, forty, cockroach, synesthesia, cheeks, clear, pregnancy, mind, violet, tongue, hair, ACROSS: ) ) 32 ) 30 ) 29 ) 28 ) 27 ) 24 ) 22 ) 21 ) 20 ) 19 ) 17 ) 16 ) 15 ) 11 ) 6 ) 5 ) 4 ) 2

CONCORD AVE. A MASSACHUSETTSAVE. WATERHOUSE ST. PARK INSTALLATIONS: In addition to the performances and events listed below, look for these park instal- ( C ) lations in the Cambridge Common, May–September 2017: (A) Kelly Sherman, poetic memory banners; (B) Paul Ramirez Jonas, contributory monument featured in this ESS CAMBRIDGE COMMON issue of Common Exchange; and (C) Julianne Swartz, interactive bench. CAMBRIDGE ST. MASON ST. ( B ) GARDEN ST. ( A ) Event Schedule / Map: Enter Here FLAGSTAFF PARK

APPIAN WAY TO HARVARD SQ. >

Common Exchange is a special- accessibility and connectivity to As the city’s official arts agency, Cam- IN THIS ISSUE: ARTISTS: edition newspaper that serves as surrounding neighborhoods for bridge Arts commissions temporary and OPEN ACCESS ANDY GRAYDON a companion to a series of inter- pedestrians and bicyclists. It is on permanent public art throughout all

Gallery 344 Gallery 344 Common Common Common Common CCVA Hong Kong Restaurant Gallery 344 Common Common Common Common Common Gallery 344 Common Common Common Gallery 344 Common Common Gallery 344 Radcliffe Common active public art performances, this occasion that we celebrate an neighborhoods of Cambridge. We are

ACCESS PAUL RAMIREZ JONAS

installations, and exhibitions that improved civic space at the heart pleased to present Common Exchange—

DECODE THE COMMON CARMEN PAPALIA present responses by ten contem- of the city with a unique suite of its exhibitions, performances, installa-

porary artists to the historic site public artworks. tions, and newspaper. The newspaper is BLIND FIELD SHUTTLE AKI SASAMOTO

of the Cambridge Common. produced through a collaboration of the Demonstration The four issues of Common

Cambridge Arts Public Art Program, cu-

PUZZLED SENSELESS KELLY SHERMAN When the World’s

Situated at the heart of the city, Exchange revolve around themes

rator Dina Deitsch, and Lesley University PLEASE, LOOK AT ME XAVIERA SIMMONS the Cambridge Common, like addressed by the public artworks: ubin: College of Art and Design (LUCAD). Number 22 (Overlay), Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) all public spaces, only acquires sound, histories, access, and Blind Field Shuttle, Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle

We Were Here— Gathering Note facsimile), (a Gathering Note facsimile) (a Gathering Note facsimile) (a Gathering Note facsimile) (a ALLISON SMITH Food Rental, Food Rental Food Rental Food Rental PUBLICAR Common Goods Common Goods Common Goods Jon R meaning when citizens use it. (dis)connection. The newspaper is SPONSORS: Common Goods, Goods, Common n: Cambridge Common RAISING THE BAR: JULIANNE SWARTZ Since its early days dating back available at selected park benches Common Exchange is made possible Walking Musical Performance UNIVERSAL ACCESS to the 1600s, when it was a place on the Common and in various through multiple partnerships and LEE WALTON & JON RUBIN for livestock grazing, and during public buildings around the city. sources of support, including the National SUCCESS: ALL AROUND Carmen Papalia: Xaviera Simmons: Andy Graydon: Aki Sasamoto: Allison Smith: Andy Graydon: Artist Reception Allison Smith: Carmen Papalia: Artist Reception OPENING CELEBRATION Lee Walton & Jon Rubin: Andy Graydon: Interpretive Choral Gathering Carmen Papalia: Eyes-closed Participatory Tour Food/Performance Cart Aki Sasamoto: Artist Talk Xaviera Simmons: Collective Theatrical Performance Xaviera Simmons: / Conversation with Judith Leemann Allison Smith: Artist with Talk Cambridge Historical Society Xaviera Simmons: Xaviera Simmons: Kelly Sherman: Artist Reception Smith: Allison Carmen Papalia: Allison Smith: CLOSING CELEBRATION Aki Sasamoto: Andy Graydon: Carmen Papalia: Lee Walton & Kelly Sherma Aki Sasamoto: Xaviera Simmons: Xaviera Simmons: Carmen Papalia: Aki Sasamoto: on Fire, When the World’s on Fire Memories of Andy Graydon: subsequent periods when it be- Endowment for the Arts, Cambridge/ EDITORS: We hope that you check out the

NS CONVERSATION: came a site for military training Agassiz/Harvard Community Culture and Dina Deitsch and Lillian Hsu Spring–Fall 2017 schedule of and housing, a place for concerts Recreation Fund, Elizabeth Firestone

THE LANGUAGE OF –7 PM –7 events and exhibitions and all

30 1 PM PM12–2 1–3 PM1–3 6–8 PM 6 PM PM 5–7 3 PM 4 PM 5 PM 6 PM PM1–2 4–5 PM PM7:15 3–4 PM 6–8 PM PM1–3 2 PM 3 PM PM12–2 2 PM 3 PM 12–1 PM12–1 PM 6–7 PM 6–7 1 PM 12–2 PM12–2 6 1

HIBITIO Graham Foundation, Artists Resource

15 and protests, and parkland for

8 ART DIRECTOR: THE COMMON issues of Common Exchange. Visit contemplation and play, it has Trust Fund of Berkshire Taconic Com-

JUN Rick Rawlins

– –JUN –JUL us online for more information. –DEC –SEP AN ICON: AS A VERB remained an important commu- munity Foundation, Community Design 14 14 24 26 17 18 DESIGNERS: / SAT / THU / THU / SUN / SAT / SUN / SAT / THU / FRI / SAT / MON / SUN nal space that houses and reflects CambridgeArtsCouncil.org Studio of LUCAD, Radcliffe Institute / MON / SUN / THU EVENT SCHEDULE / MAP / THU JULY AUGUST SEPTEMBER JUNE DAILY EVENT GALLERY EX MAY 8 13 14 18 20 1 4 15 17 16 17 20 3 15 16 17 MAY PM12–2 APR APR JUL SEP Kelsey Arbona, Michael Coleman, the changing temperament of f @ CambridgeArtsCouncil for Advanced Study, Massachusetts Will Currier, Joseph DeSouza, Alexandra public participation in civic life t @ CambridgeArts Cultural Council, VIA Art Fund, Carpen- Fletcher, Melinda Freund, Joab Garcia, over time. # CommonExchangeCambridge ter Center for the Visual Arts, Harvard Jacqueline Gold, Caitlin Kalafus, Anya EVENT LOCATIONS: Gallery 344 CCVA Radcliffe Institute for Advanced Study PLEASE NOTE: # PerformingTheCommon University, First Church Cambridge, Piatrova, Matthew Reilly, Daniel In 2016, a renovation of Hong Kong Restaurant Cambridge Arts Carpenter Center for the Visual Arts Johnson-Kulukundis Family Gallery The event schedule is subject to change. Holosonics, and the City of Cambridge. Seaward, Katherine Shannon, Jaxy the Common brought many —Lillian Hsu, Director of Public Art 1238 Massachusetts Avenue 344 Broadway, 2nd Floor Harvard University, 24 Quincy Street Byerly Hall, 8 Garden Street Confirm at cambridgeartscouncil.org or and Exhibitions, Cambridge Arts Stewart, and Michael Talbot improvements and increased its Cambridge, MA 02138 Cambridge, MA 02139 Cambridge, MA 02138 Cambridge, MA 02138 facebook.com/cambridgeartscouncil FEATURED ARTIST Open access RELIES ON THOSE PRESENT, WHAT THEIR NEEDS ARE, AND HOW THEY CAN FIND SUPPORT WITH EACH OTHER AND IN THEIR COMMUNITIES. IT IS A PERPETUAL NEGOTIATION OF TRUST BETWEEN THOSE WHO PRACTICE SUPPORT AS A MUTUAL EXCHANGE. Open access IS RADICALLY DIFFERENT THAN A SET OF POLICIES THAT IS ENFORCED IN ORDER TO FACILITATE A COMMON EXPERIENCE FOR A GROUP WITH DEFINITIVE NEEDS. IT ACKNOWLEDGES THAT EVERYONE CARRIES A BODY OF LOCAL Issue: Access CARMEN PAPALIA KNOWLEDGE AND IS AN EXPERT IN THEIR OWN RIGHT. Open access IS THE ROOT SYSTEM OF EMBODIED LEARNING. IT CULTIVATES Blind Field Shuttle TRUST AMONG THOSE INVOLVED AND ENABLES EACH MEMBER TO SELF-IDENTIFY AND OCCUPY A POINT OF ORIENTATION THAT IS BASED IN COMPLEX EMBODIMENT. In this issue of the Common non-visual learner. Papalia extends ARTIST STATEMENT: ARTIST BIO: Exchange newspaper—“Access” our thinking of access into an inclu- Blind Field Shuttle, 2010/17 Carmen Papalia, b. 1981, Vancouver, British DISRUPTS THE DISABLING CONDITIONS THAT LIMIT ONE’S we explore the Common as a public sive view of different identities in Collaborative performance Columbia; lives and works in Vancouver Open access space that is open and available his proposition Open Access (left). AGENCY AND POTENTIAL TO THRIVE. IT REIMAGINES NORMALCY AS A CONTINUUM to all. As part of the park’s recent Papalia’s non-visual walking Carmen Papalia is a social prac- PAUL RAMIREZ JONAS ad- renovations, the pathways were tour, Blind Field Shuttle, is an tice artist who makes participato- OF EMBODIMENTS, IDENTITIES, REALITIES, AND LEARNING STYLES, AND OPERATES dresses another form of access in widened and flattened to better the experience in which groups of ry projects on the topic of access terms of who exactly has the au- UNDER THE TENET THAT CRITICAL CARE AND INTERDEPENDENCE ARE CENTRAL TO A space for bikes, wheelchairs, and participants may walk with the as it relates to public space, art thority—or access to authoritative strollers—increasing access to a artist through urban spaces while institutions, and visual culture. RADICAL RESTRUCTURING OF POWER. language—to define space in the greater number of bodies with closing their eyes. Each instance His work has been featured as form of plaques and memorials. His differing needs. of Blind Field Shuttle is an invita- part of exhibitions and program- Open access IS A TEMPORARY, COLLECTIVELY HELD SPACE WHERE PAR- Publicar offers the public a chance tion to explore the possibilities ming at numerous museums in TICIPANTS CAN FIND COMFORT IN DISCLOSING THEIR NEEDS AND PREFERENCES WITH The artists featured in this issue to place their own texts on a stone— for learning and knowing that be- the United States and Canada. explore the idea of universal access as temporary notes pinned to the come available through the non- His recent writings can be found ONE ANOTHER. IT IS A RESPONSIVE SUPPORT NETWORK THAT ADAPTS AS NEEDS AND and what it means on a deeper level corkboard—as a decisive alterna- visual senses. Participants line in Stay Solid! A Radical Handbook of political and cultural agency. tive to the permanent monuments AVAILABLE RESOURCES CHANGE. —Carmen Papalia up behind Papalia, connect with for Youth (AK Press, 2013), Refer- Artist CARMEN PAPALIA pushes that dot the Common. the person in front of them with a ence Points: Temporary Services at this question in his Blind Field —Dina Deitsch, Curator hand on their shoulder, and shut (Publication Studio, 2013), and Shuttle tours that ask us to experi- their eyes for the entire hour- in the “Museum Experience and ence the world like he does, as a long experience. After using their Blindness” issue of Disability non-visual senses for a prolonged Studies Quarterly (vol. 33, no. 3, amount of time, participants 2013). Papalia’s upcoming projects begin to recognize seeing as only include a series of experimental one of the many ways to engage programs about access and visitor Decode the Common: with and interpret a place. experience that will take place at the Museum of Modern Art in New York.

TO ME A LUSH CARPET OF

PINE NEEDLES OR SPONGY

GRASS IS MORE WELCOME

THAN THE MOST LUXURIOUS

PERSIAN RUG — HELEN KELLER KELLER

code: 1

3 ACROSS 4 PUZZLED SENSELESS 2 ) A touch receptor. Most people have 29 ) Which taste is sensed on the tip of 63 ) To hide or disguise. 5 6 7 8 about 100,000 on their head. the tongue? 66 ) What you say while fencing if you 4 ) What part of a woodpecker contains 30 ) A color thought to induce passivity are touched by the foil and are 9 a Herbst corpuscle that is used to in clinical settings. conceding to your opponent. search for insects in wood? 32 ) A device for viewing oscillations or 69 ) In The Hound of the Baskervilles, 5 ) The French Empress Josephine’s vibrations; making sound visible. Sherlock Holmes identifies a 10 11 12 13 14 signature perfume. 34 ) The aroma of penguins is so intense woman by the smell of which of her possessions? 6 ) In Shakespeare’s Midsummer Night’s that it inspired this term for oily. 15 Dream: “Love looks not with the eye.” 35 ) Light from where travels to Earth in 70 ) German fermented cabbage. Instead it looks with what? approximately eight minutes? 72 ) An insect that rubs its wings 16 11 ) A man may experience an illusion of 36 ) The English name for vibrissae— together to create sound; derived pain that mimics this condition. the stiff hairs that cats and other from Old French “to creak.” 15 ) Polar bears are not white. Instead, mammals use for touch. 74 ) If you chew the leaves of the 17 18 their fur is this color. 37 ) The single food source of koalas. asclepiad, you lose the ability to discern this taste. 16 ) The parts of a cat’s body where scent 38 ) A higher sodium level is found here in 19 glands are located. people who crave salt. 75 ) A muscle in the eye that changes 17 ) A phenomenon in which stimulation the size of the pupil. 41 ) A repeated rhythmic phrase. 20 of one sense leads to an involuntary 77 ) Which other sense is most closely 44 ) experience of a second sense. Resistant to the passage of sound. connected to taste? 47 ) 19 ) An insect, commonly used in A person who can utter sounds so that 78 ) A composition for a keyboard 21 22 experiments related to touch, that has they seem to originate somewhere else. instrument that shows touch exceptional sensitivity to vibration. 49 ) A famous artist who was myopic and technique. 23 24 20 ) How many nerve endings must be yet refused to wear glasses. 79 ) Which color of light is the most aroused before we smell something? 50 ) To be heard, an object must be _____. energetic of the visible spectrum? 21 ) A costly flavoring, second to saffron. 51 ) Where did Benjamin Franklin prefer 80 ) It takes humans about five seconds 25 26 27 28 22 ) The Aztecs called this popular to write? to breathe—two seconds to inhale treat “xocoatl.” 55 ) A parent’s first view of their baby and three to do this. 29 24 ) Our taste buds fall into groups: salty, often uses this form of echolocation. 82 ) Molecules that trigger scent nerve impulses to the brain have different sour, sweet. What is the fourth group? 58 ) The involuntary contraction of skin 32 34 shapes. What shape is the molecule 30 31 33 27 ) muscles to warm the body. The ear acts as a biological gyroscope for pepperminty odors? maintaining this state. 61 ) This animal is the preferred forager 35 28 ) The part of the eye that takes its name of truffles. from a Latin word meaning “a little doll.” 62 ) Minty, floral, ethereal, musky, foul, resinous, and acrid are categories of 36 37 38 smell. What category do pears fall in? 39 40 DOWN See back cover for answers, taken 1 ) One of the few rocks we enjoy to eat. 43 ) A substance that absorbs odors. 41 42 43 44 from A Natural History of the Senses 3 ) This bird locates carrion by smell. 45 ) Walt Whitman praised what aroma by Diane Ackerman as “finer than prayer?” 7 ) In J. M. Barrie’s Peter Pan, what could 45 46 children smell in their sleep? 46 ) Which travels faster, sound or light? 8 ) This herb evolved a pungent odor to 48 ) The quality of a sound governed by 47 repel predators. the rate of vibrations producing it. 9 ) What visual condition is present when 52 ) Static electricity that causes the we describe seeing something with our hair of some animals to stand up 48 “naked eyes.” and quiver allows them to “predict” this type of disaster. 10 ) We can smell something when it 49 50 begins to evaporate. What must 53 ) The retina includes two sorts of something do for us to be able to photosensitive cells, rods and cones. taste it? Which are used to see color? 51 52 53 12 ) A dentist uses this to numb our sense 54 ) The branch of physics dealing with of touch. the effects of very low temperatures. 54 55 56 13 ) The art of drawing objects to give 56 ) Which sense is the first to develop the right impression of their height, in a fetus? 57 58 59 60 61 width, depth, and position relative 57 ) A commonly upsetting sound to each other. involves fingernails and what else? 14 ) This animal squirts would-be 59 ) Seventy percent of our sense 62 attackers with a stench. receptors are clustered in this part 16 ) A group of notes sounded together as of the body. 63 64 65 a basis of harmony. 60 ) A technique that uses sound to 18 ) Morphine-like painkillers produced by navigate, communicate with, or the brain to give us a sense of comfort detect objects on or under the 66 and calm. surface of water. 23 ) A red, jelly-like secretion from the gut 64 ) In what part of a butterfly are the 67 68 of an East Asian deer. taste organs located?

25 ) The second layer of skin, responsible 65 ) Merkel’s disks, just below the skin 69 70 for our sense of touch. surface, respond to this type 26 ) The words hiss, whisper, chirp, slither, of pressure. bubble, thump, and murmur are 67 ) Cold receptors are located mainly 71 examples of what type of speech? in this part of the body. 31 ) This famous composer wrote his 68 ) A basic palette of feeling through 72 73 74 Ninth Symphony when he was deaf. touch is hot, cold, pain, and____ ? 33 ) We often crave this nutrient to bring 71 ) An optical illusion caused by the 75 76 ourselves into emotional balance. refraction of light from the sky by 35 ) Three of the tiniest bones in the body heated air. are located in the ear: the hammer 73 ) What chemical substance in violets 77 78 and the anvil. What is the third? temporarily steals your sense 39 ) A medical instrument that aids of smell? listening to the heart. 74 ) Rotten egg smell. 40 ) One reminder of our oceanic origins 76 ) The English translation of the Latin, 79 80 81 is that our eyes must be constantly taxare, to touch sharply. bathed in tears containing this. 81 ) What factor most influences the 42 ) Ancient Egyptians swore oaths on amount of taste buds in a human? 82 this edible bulb and thought it symbolized the universe. Please, look at me FEATURED ARTIST Use this blank paper to add your own message to Publicar.

PAUL RAMIREZ JONAS Publicar

ARTIST STATEMENT: for such abuses of this freedom ARTIST BIO: and Cambridge, with present- 1 Publicar, 2011/17; Granite, cork, multicolor as shall be defined by law. Paul Ramirez Jonas, b. 1965 California / ing organization Now + There in 2016. He has exhibited nationally pushpins, in addition to paper and various Can we, as individuals, change Honduras; lives and works in New York City contributions from the public and internationally, and a 25-year the permanent inscriptions of Paul Ramirez Jonas often asks survey of his work is currently There are two voices that inscribe the (s)State without resorting us, the participants, to contribute on view at Contemporary Arts the public space. One of them is to vandalism or destruction? something: spare change, a wish— Museum Houston. He is an Asso- ours, and it is ephemeral, impro- Can we choose to read the text or even our own version of histo- ciate Professor at Hunter College vised, and temporal. The other differently? Can we use the form ry. This reciprocity is a manifesta- and City University of New York voice is the (s)State’s, and it tries differently? Can we treat them as tion of trust and a social contract (CUNY). to be permanent and monumen- scores and interpret them in our through which the viewer and tal. It is made of stone and bronze. own way? artist create meaning. Ramirez Legitimate or not, the (s)State Yes, we can perform the monu- Jonas’s Taylor Square (at the populates our public spaces with ment. Our material is cork, Taylor Square Fire Station, inter- inscriptions, such as historic capable of accommodating us all— section of Sherman Street, Huron dates, prominent names, lists of even if for a short time. For this Avenue, and Garden Street) is in the dead, mottos, assurances, and, monument, all we need is a scrap the public art collection of the in rare instances, with a list of our of paper, a pen, and a thumbtack City of Cambridge as the city’s universal rights: to publish our voice. smallest park. Five thousand keys to its gates were mailed to area ARTICLE 11: The free communi- residents with a request to copy cation of ideas and opinions is one 1 The Universal Declaration of Human the key repeatedly for a widen- of the most precious of the rights of Rights (UDHR), adopted by the United ing population of residents to man. Every citizen may, accord- Nations General Assembly on December become owners of this space. He ingly, speak, write, and print with 10, 1948. completed a large-scale public art freedom, but shall be responsible project, Public Trust, in Boston

SHOWER THE PEOPLE HI JOHN, NOTHING TOO POETIC, RICOLA, MILK, BREAD, I HAVE BEEN TRYING TO YOU LOVE WITH LOVE. JUST IMAGINE. JUST KNOW THAT TP, PADS, TEA, FRUIT, GET RID OF MY HONDA YOU’RE—OR SHOULD I YOGURT, OATMEAL, CIVIC FOR A LONG TIME. SAY WE’RE—ALIVE FOR PONYO SOUP. —CHASE THE SAKE OF OTHERS.

HELLO AND WELCOME UN BON JOUR DU IT’S REALLY HARD RECOMMEND GABI, SILVIA, MIA TO OUR TREASURE QUEBEC, CANADA. BEING PAKISTANI, HUMIDIFIER. WERE HERE. WE HUNT. IF YOU FIND A —CELINE ET JACQUE BUT WE DO OUR BEST. LOVE ART. CLUE, LEAVE IT WHERE IT IS. FIRST CLUE: “THE CIRCLE OF LOVE.”

IOU $2. TO KILL A MOCKINGBIRD, HI PAUL. DID YOU LIKE THE FIRST I CAN’T STOP TALKING THE LITTLE PRINCE, A TREASURE HUNT? IF SO, ABOUT THE SMOKED PALE VIEW FROM OF THE YOU WILL LOVE THIS SALMON! IT’S SO GOOD! HILLS, WE NEED TO TALK ONE. HERE’S YOUR FIRST ABOUT KEVIN, LITTLE CLUE: “NO DOGS ALOUD!” WOMEN, MIXQUIALA LETTERS.

ESTLIN RUBBED HER DISMANTLE BROKEN TO MOM & DAD: FEAR THE CUTENESS! KNEES IN OUR GYM SYSTEMS AND REBUILD. AT THE END OF THE YOU WILL OBEY ME. ROOM WHILE DOING DAY IT’S YOUR LIFE! SPORT. WE LEARNED YOU DO WHAT YOU OUR LESSON TODAY. WANT, NOT WHAT I’M SORRY FOR THIS OTHERS TELL YOU. INCIDENT. —ANDREA Raising the Bar: Success:

universal access —MICHAEL MUEHE all around

“Streets are the dwelling place What is the mission of the necessary mobility devices. Social The much-loved design of the of the collective,” wrote Walter Cambridge Commission for barriers present challenges as Alexander W. Kemp Playground at Benjamin. And at the heart of Persons with Disabilities? well. The misconception that Cambridge Common is based on our democratic community lies opportunities for recreation and recommendations of the Healthy The Commission promotes the Common. Thanks to recent exercise are not a priority for Play Initiative, a Cambridge task awareness about accessibility and accessiblity improvments, the people with disabilities is still The city force that develops new models for universal design issues in all city park fulfills its purpose more all too widely held. public spaces in the city. The goal is departments, programs, activities, completely—welcoming everyone. to create more-natural play settings and services. It provides technical What do you enjoy personally We talked about the changes and and my body that stimulate imaginative and open assistance and training that about being in the Common? the future with Michael Muehe, play—all with a strong commitment eliminate barriers to access. We Executive Director of the City For me, the Common is a respite to universal design. will continue to do so until all of Cambridge Commission for from the hustle and bustle barriers have been eliminated. supplement The layout of the playground opti- Persons with Disabilities. Many of the changes in the of Harvard Square. I enjoy the We have made great strides since mizes access to interactive sand Common go largely unnoticed. diversity of people using the passage of the Americans with and water equipment, a staircase- The project was designed by the How significant are they? park, the diversity of plant life, Disabilities Act (ADA) in 1990, and define like network of channels and basins, Cambridge Community Development the artistic elements, historical Improvements to the Cambridge but we still have a lot of work to that provides several access points Department under the direction of markers, and interpretive texts Common entryways, pathways, do to accomplish our goals. for children with mobility limitations. Robert Steck, the Cambridge City sidewalks, and play structures that explain the Common’s each other. Landscape Architect. represent both a practical benefit What challenges still exist significance. A universally accessible carousel, for persons with disabilities the first of its kind in the United for people seeking accessible I feel satisfaction as we take to fully enjoy city parks and States, accommodates children in recreational opportunities as steps forward, in concert with —Juhani Pallasmaa playgrounds? both strollers and wheelchairs, al- well as a symbolic benefit. Now colleagues throughout city lowing everyone to play together. that we have realized meaningful It’s often a challenge for people government and in the private accessibility and universal design with disabilities to get from sector, that move us closer to our improvements in the Common, their homes to accessible parks. ultimate goal of full accessibility with its inherent urban and They can face transportation and integration for people with historical challenges, we are even and economic barriers, such as disabilities. more confident that similar goals limited accessible transit options can be achieved elsewhere. or a lack of resources to obtain Conversation: the An icon: as a verb language of the Common

The “commons” is a place of shared Common Exchange is a series of 1 Cesare Casarino and Antonio Negri, In Transforming the International knowledge and resources while temporary art installations and Praise of the Common: A Conversation on Symbol of Access (ISA) into also being a contested area of performances presented in one of Philosophy and Politics (Minneapolis: an active, engaged image, the University of Minnesota Press, 2008). collective action and possibility; the nation’s oldest common greens, Cambridge-based project of Sara it is the term by which we legally the Cambridge Common. Orga- 2 This history of shared grazing space has Hendren, Brian Glenney, and Tim frame our public rights and hold our nized in honor of the park’s recent also spawned social and economic theories Ferguson-Sauder has the power to democratic freedoms. It is the locus pathway renovations, each project of misused resources in unregulated systems. change more than the icon itself. See Garrett Hardin, “The Tragedy of the of dialogue itself; as philosophers that constitutes Common Exchange Commons,” Science 162, no. 3859 “History shows that the shape and Cesare Casarino and Antonio Negri reiterates the park’s physical and (December 1968). form of what we see and hear does remind us, “Conversation is the ideological function as a connective work on our cognitive understand- language of the Commons.”1 The space, one defined by the exchange ing of the world, and hence the “Common” (notably missing the s) of ideas, words, and things, a space meaning we make of it. The language is the physical manifestation of of conversation. of symbols [has long been used] to —Sara Hendren, Brian Glenney, and this idea in space, publicly shared Over the course of the summer, persuade, to question, to force. We Tim Ferguson-Sauder, Accessible and historically a field of grass at time-based and participatory works want to be on the bottom-up, rights- Icon Project a city’s center used for collective will occupy the Cambridge Common expanding, power-rebalancing livestock grazing.2 to address connectivity and ex- tradition of that history.” The Common—as both a literal change in the twenty-first century, and conceptual site—is defined moving from interpersonal to com- by gathering, exchange, and the munal and historical relationships. multitude of voices and actions The public remains the central For every complex and difficult that take place within it. In effect, figure in these works to emphasize the Common is the landscape of that it is participation and public citizenry and a place defined by discourse that ultimately shape our problem, there is an answer that dialogue, between people, cultures, civic spaces. and histories, that can echo the —Dina Deitsch, Curator best and worst of our civic states.

is simple, easy, and wrong. —H. L. Mencken

CONCORD AVE.

MASSACHUSETTSAVE. WATERHOUSE ST. PARK INSTALLATIONS: In addition to the performances and events listed below, look for these park instal- ( C ) lations in the Cambridge Common, May–September 2017: (A) Kelly Sherman, poetic memory banners; (B) Paul Ramirez Jonas, contributory monument featured in this CAMBRIDGE COMMON issue of Common Exchange; and (C) Julianne Swartz, interactive bench. CAMBRIDGE ST. MASON ST. ( B ) GARDEN ST. ( A ) Event Schedule / Map: FLAGSTAFF PARK

APPIAN WAY TO HARVARD SQ. >

Demonstration

When the World’s

ubin:

Number 22 (Overlay), Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay) Number 22 (Overlay)

Blind Field Shuttle, Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle Blind Field Shuttle

We Were Here— Gathering Note facsimile), (a Food Rental, Food Rental Gathering Note facsimile) (a Food Rental Food Rental Gathering Note facsimile) (a Gathering Note facsimile) (a Common Goods Common Goods Common Goods Common Goods, Goods, Common Jon R n: Cambridge Common Walking Musical Performance Carmen Papalia: Xaviera Simmons: Andy Graydon: Aki Sasamoto: Allison Smith: Andy Graydon: Artist Reception Allison Smith: Carmen Papalia: Artist Reception OPENING CELEBRATION Lee Walton & Jon Rubin: Andy Graydon: Interpretive Choral Gathering Carmen Papalia: Eyes-closed Participatory Tour Food/Performance Cart Aki Sasamoto: Artist Talk Xaviera Simmons: Collective Theatrical Performance Xaviera Simmons: / Conversation with Judith Leemann Allison Smith: Artist with Talk Cambridge Historical Society Xaviera Simmons: Xaviera Simmons: Kelly Sherman: Artist Reception Smith: Allison Carmen Papalia: Allison Smith: CLOSING CELEBRATION Aki Sasamoto: Andy Graydon: Carmen Papalia: Lee Walton & Kelly Sherma Aki Sasamoto: Xaviera Simmons: Xaviera Simmons: Carmen Papalia: Aki Sasamoto: on Fire, When the World’s on Fire Memories of Andy Graydon:

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EVENT LOCATIONS: Gallery 344 CCVA Radcliffe Institute for Advanced Study PLEASE NOTE: Hong Kong Restaurant Cambridge Arts Carpenter Center for the Visual Arts Johnson-Kulukundis Family Gallery The event schedule is subject to change. 1238 Massachusetts Avenue 344 Broadway, 2nd Floor Harvard University, 24 Quincy Street Byerly Hall, 8 Garden Street Confirm at cambridgeartscouncil.org or Cambridge, MA 02138 Cambridge, MA 02139 Cambridge, MA 02138 Cambridge, MA 02138 facebook.com/cambridgeartscouncil