Читать книгу Critical Digital Making in Art Education - Группа авторов - Страница 9

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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