Yen-Ju Lin
Chapter Eight: Contemporary Photographic Practice as a Critical Pathway Toward Visual Literacy
Kristi Oliver
Flávia Bastos and James Rees
Cassie Lynn Smith
Chapter Eleven: Arts Laboratories and Science Studios: How ArtsSciences Can Innovate Arts Education
Emiel Heijnen, Melissa Bremmer, Michiel Koelink, and Talita Groenendijk
Section III Intervention: Disrupting through Critical Digital Practice
Jennifer L. Motter
Rebecka A. Black and Chelsea Shannon
Chapter Fourteen: Digital Media in Art Workshops for Refugees
Susan Maly and Hana Marvanová
Chapter Fifteen: Counter-Mapping as Artistic Strategy
Danny Jauregui
Chapter Sixteen: Landscapes of Absence
Brandon Bauer
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List of Illustrations
Cover image: Disguised Ruins—The 1965 Addresses—Mapped. Source: www.disguisedruins.com
Figure 2.1: Enchanted listening with paper cone. Source: Vague Research Studios, www.vrstudios.se
Figure 5.1: A still from a viewer directed angle into the 360-degree video “Games”. Source: Author
Figure 6.1: Reconstructed Selfie. Source: Author
Figure 7.1: Example of Twitter hashtag #JCfuture as both a symbolic and technological point of association formed a stream of dialogue online. Copyright held by the author
Figure 9.1: Still images of the students’ digital stories: (a) Tania, (b) Erick, and (c) Cameron. Source: James Rees (Artist/Researcher/Teacher)
Figure 11.1: Interactive sound installation—Pupils of Helen Parkhurst school, Almere, 2018. © Research Group Arts Education, Amsterdam University of the Arts
Figure 12.1: Critical Emancipatory Case Study Postcards. These postcards similarly portray assault. Source: Author
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Figure 14.1: Example of using participant’s own artwork (drypoint print) as background for expressive performance in digital projection (2011, source: Special Art Education project archive, The Department of Art Education, Faculty of Education, Masaryk University)
Figure 15.1: Disguised Ruins—The Timeline. Danny Jauregui, Web-based animation, 2018.
Figure 16.1: James Wright Foley (Descriptive Print Detail). Brandon Bauer, 22ʺ×30ʺ (57.15×76.20 cm) Archival Pigment Print on Rag Paper, 2015
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List of Table
Table 7.1: List of prompts of each Feminist Art Gallery Conversations and corresponding hashtags. Source: Author
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This book project is an extension of a 2016 National Art Education Association (NAEA) conference panel investigating ways artists and art educators and researchers engage with critical pedagogy using technology in art learning. The initial panel comprised artist-researchers Juan Carlos Castro and Martin Lalonde, Luke Meeken, and Kevin Jenkins. Panelists presented on a range of digital technologies including mobile phones, computer code, and social media used in creative and critical practices. In 2017, a second NAEA conference panel was developed, that grew to nine presentations and organized into three categories: empowerment, community, and mobility. Presenters in the empowerment section included Rachel Fendler; Adetty Pérez Miles and Kevin Jenkins; and Courtnie Wolfgang and Olga Ivashkevich. The empowerment section included topics ranging from youth visual inquiry in a historical black community using digital devices, game development for exploring LGBTQ+ identity, and working with female juveniles exploring glitch as artistic practice. Presenters in the community section included Steve Ciampaglia; Cassie Smith; and Lena Berglin and Kajsa Eriksson. The community section included topics such as game development at an urban youth center, using digital media to teach social justice in the community youth arts camp, and nuanced forms of hacking widely available sound technologies as an exploration of embodied technological aesthetic practices. Presenters in the mobility section include Martin Lalonde, Ehsan Akbari, and Juan Carlos Castro; Julienne Hogarth; and Michelle Bae-Dimitriadis. The mobility section included topics such as ←xiii | xiv→teaching youth photography skills with mobile phones, a digital walking tour app to bring awareness of the arts community, and place-based gaming with immigrant girls using mobile technology. The 2017 panel provided further evidence that digital making informed through a critical, social focus is valued and understood by artists and educators. Buoyed by the influence of digital actors affecting the outcome of the 2016 U.S. presidential election, we felt it imperative to write about critical digital praxis taking on forms of social practice currently underrepresented in the scholarship important to art education. We envision critical digital making to continue to expand over time as more artists use digital media to communicate their vision and ideas with others to create dialogue for social good.
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