Teaching Visual Arts with Digital Technologies

Author(s):  
Maria Kalamatianou ◽  
Maria Hatzigianni
2011 ◽  
Vol 10 (2) ◽  
pp. 251-254
Author(s):  
Seongah Shin

In the field of hand-made film, sound and music are a limited part of the media due to the character of the medium; there are only a few sound tracks with poor quality. Hand-made film may be considered ‘old media’ or ‘traditional media’ that are not as popular today due to the spread of digital technologies. However, the limited character of this medium and the low quality of the sound tracks become a very attractive and creative limitation for the author’s recent works. She discusses two recent works for experimental film and sound, The Thin Black Line (2007) and flowing_water (2008) which explore how the limitation of media allows expansion of the sonic and visual arts.


Author(s):  
Virginia Kuhn

The affordances of digital technologies increase the available semiotic resources through which one may speak. In this context, video remix becomes a rich avenue for communication and expression in ways that have heretofore been the province of big media. Yet recent attempts to categorize remix are limiting, mainly as a result of their reliance on the visual arts and cinema theory as the gauge by which remix is measured. A more valuable view of remix is as a digital argument that works across the registers of sound, text, and image to make claims and provides evidence to support those claims. After exploring the roots of contemporary notions of orality, literacy, narrative and rhetoric, I turn to examples of marginalized, disparate artifacts that are already in danger of neglect in the burgeoning history of remix. In examining these pieces in terms of remix theory to date, a more expansive view is warranted. An approach based on digital argument is capable of accounting for the rhetorical strategies of the formal elements of remixes while still attending to the specificity of the discourse communities from which they arise. This effort intervenes in current conversations and sparks enhancement of its concepts to shape the mediascape.


Teaching Health Humanities expands our understanding of what health humanities teaching currently does and what it could do. Its contributors describe the variety of degree programs where they teach, the politics and perspectives that inform how they teach, and methods for incorporating newer digital and multimodal technologies into their teaching practices. Each individual chapter lays out the theory that drives contributors’ teaching, then describes how it happens in practice at the broad level of such matters as syllabus design and at the finer level of lesson plans, class exercises, and/or textual analyses. In the middle section, contributors focus on how they integrate critical race, feminist, queer, disability, class, and age studies in their courses, with essays that exemplify intersectional approaches to these axes of difference and oppression. The last section includes chapters that illuminate how to teach about digital technologies to reveal the often obscured politics in their design, as well as descriptions of courses that bridge bioethics and music, medical humanities and podcasts, health humanities filmmaking, and visual arts in end-of-life care.


2016 ◽  
Vol 10 (2) ◽  
pp. 147-156 ◽  
Author(s):  
Bonnie L. Angelone ◽  
Richard W. Hass ◽  
Marissa Cohen
Keyword(s):  

2010 ◽  
Author(s):  
Ivan Games ◽  
Cecilia Henriquez ◽  
Danny Martinez ◽  
Theresa McGinnis ◽  
Silvia Nogueron ◽  
...  

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