Critical Digital Making in Art Education

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ISBN 978-1-4331-7762-0 (hardcover)

ISBN 978-1-4331-7761-3 (paperback)

ISBN 978-1-4331-7763-7 (ebook pdf)

ISBN 978-1-4331-7764-4 (epub)

ISBN 978-1-4331-7765-1 (mobi)

DOI 10.3726/b17298

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About the author

Aaron D. Knochel (Ph.D., The Ohio State University) is Associate Professor of Art Education at The Pennsylvania State University. Aaron received funding from the National Science Foundation (NSF) for research in makerspace education. Aaron’s publications include Studies in Art Education, Art Education, Parallax, and Kairos.

Christine Liao (Ph.D., Penn State University) is currently Associate Professor at University of North Carolina Wilmington. She has published in journals such as Visual Arts Research and Art Education and presented nationally and internationally.

Ryan M. Patton (Ph.D., Penn State University) is Associate Professor of Art Education at Virginia Commonwealth University. He has received awards from the National Endowment for the Arts for research in game design education. Ryan’s publications include Arts Education Policy Review and Art Education.

About the book

This book integrates the three fields critical theory, digital art making, and pedagogy, drawing from scholarship and practices of new media, social practice and community-based arts interventions, and arts education pedagogy. With a collection of essays from an international group of authors, we guide readers through steps artists and art educators use to explore digital media, using new media art making to enable voices and interrupt power structures. The three sections of formation, co-construction, and intervention through critical digital practice, provide a survey of current research in new media art pedagogy and social practice. The first section explores interaction techniques, sound technology, 3D printing, pedagogy as sociomaterial, and data visualization as forms of critical digital media. The second section demonstrates examples of social media as means to engage communities and digital art making to critically investigate citizenship, local and international issues, and bring together intergenerational conversation. The last section offers examples of new media art practices addressing the sociopolitical status quo to empower socially disadvantaged and relegated groups of people.

Our collection offers an important survey to university new media art and social practice courses to show the range of ways media arts technology can be used in art practice.

This eBook can be cited

This edition of the eBook can be cited. To enable this we have marked the start and end of a page. In cases where a word straddles a page break, the marker is placed inside the word at exactly the same position as in the physical book. This means that occasionally a word might be bifurcated by this marker.

Preface

An Introduction to Critical Digital Making

Aaron D. Knochel, Christine Liao, and Ryan M. Patton

Section I Formation: Digital Materiality and New Media Arts

Chapter One: Toward a Practice of Digital-Handicraft

Mary Callahan (MC) Baumstark and Theresa Slater

Chapter Two: Experimental Material-Digital Art Education by Vague Research Studios

Lena T. H. Berglin and Kajsa G. Eriksson

Chapter Three: Critical Perspectives on 3D Printing in Art Education

Marc Fritzsche

Chapter Four: Designing the Social Interface: More than Social, More than Material

Sean Justice

Chapter Five: Interactive Visualizations of Relationships that Matter

Karen Keifer-Boyd

Section II Co-Construction: Forming Entangled Communities

Chapter Six: Digital Intergenerational (DIG) Art Club

Susan Whiteland

Chapter Seven: Critical Dialogue and the Re/making of Pedagogic Assemblage: Teaching with Social Media and Feminist Online Pedagogy

Yen-Ju Lin

Chapter Eight: Contemporary Photographic Practice as a Critical Pathway Toward Visual Literacy

Kristi Oliver

Chapter Nine: Who Is American Today? Promoting Critical Digital Citizenship with High School Students

Flávia Bastos and James Rees

Chapter Ten: Critical Pedagogy in the Borderlands: Employing Digital Archives to Support a Local to Global Social Justice Curriculum

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

Chapter Twelve: Social Media as Sites for Feminist Activism: Facilitating Critical Digital Meaning-Making

Jennifer L. Motter

Chapter Thirteen: Critical Digital Making and Public Pedagogy: Student-Institution Collaboration through Exhibition Making on Google Arts and Culture

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

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

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

Table 7.1: List of prompts of each Feminist Art Gallery Conversations and corresponding hashtags. Source: Author