Читать книгу Critical Digital Making in Art Education - Группа авторов - Страница 11

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Preface

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.