New Materialities and Maker Paradigms in Schools
Chapter 1. Tracing the Emergence of the Inquiry
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TRACING THE EMERGENCE OF THE INQUIRY
I come to this research as an artist and art educator. In the 1980s, while doing an MFA in studio art, concentrating on photography and video, I started teaching high school photography and writing. A few years later I taught photography and the history of photography at a community college. During that time, I was also working as an arts organizer and grant writer, exhibiting photographs and video art in galleries, and beginning to make photographs and videos for magazines and marketing agencies. Later, as my freelance practice grew into a commercial studio business, I dropped the arts advocacy and cut back on the fine art. While I regretted setting those aspects of my career on hold, the studio thrived, and by the mid-2000s we had several employees, dozens of assistants, and clients worldwide. In fact, at about that time the commercial practice stabilized, so I returned to teaching and making art again.
Trajectories of Changing Tools
Along the way, the tools of photography and media changed radically. My journey into computers had begun in graduate school, when I took an administrative job in my university’s psychology department. I remember beginning 1986 with a brand new IBM Selectric typewriter, thrilled to be working with ← 5 | 6 → such an excellent machine, and ending that year with a desktop PC attached to a dot-matrix printer. In some ways, office life didn’t change—managing...
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