scholarly journals Editorial

2018 ◽  
pp. 1-2
Author(s):  
Katerina Talianni ◽  
Eleni Ira Panourgia ◽  
Jack Walker ◽  
Roxana Karam
Keyword(s):  
Digital Media ◽  
Research Network ◽  
School Of Education ◽  
Arts And Humanities ◽  
The Arts ◽  
Hands On ◽  
University Of Edinburgh ◽  
Digital Methods ◽  
The University ◽  
Academic Year

The plethora and availability of digital tools and practices have transformed the ways art is created, perceived and disseminated. This had a distinct impact on how research is conducted across the arts and humanities as a whole from practice-led to process-focused and people-centred research. Airea’s first issue “Computational tools and digital methods in creative practices” germinated from a series of research focuses that began in 2016 when the research network (sIREN) was established by PhD students in Edinburgh College of Art, the University of Edinburgh. sIREN's aim is to create a dialogue between several fields and promote new perceptions of research based on diverse methodological approaches. It seeks to form a platform of communication among arts and other disciplines, technologies and digital media, theory, practice and collaboration. For this, we organised a series seminars-workshops during the academic year 2016-2017 that brought together invited speakers from the University of Edinburgh (across Edinburgh College of Art, School of Education, School of Informatics, Edinburgh Centre for Robotics and School of Geosciences), the University of Warwick (Centre for Interdisciplinary Methodologies), the University of Newcastle (School of Architecture, Planning and Landscape) and the National Library of Scotland, followed by an international conference in May 2017, which included an interactive format of hands-on workshops, papers and a performance session.

“Tradition,” Vernacularism, and Learning to Be a Folk Musician With Social Media

2020 ◽  
pp. 442-466
Author(s):  
Simon Keegan-Phipps ◽  
Lucy Wright
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Case Studies ◽  
Folk Music ◽  
Learning Mechanisms ◽  
Media Technologies ◽  
Arts And Humanities ◽  
The Arts ◽  
The Social ◽  
Social Shaping

This chapter considers the role of social media (broadly conceived) in the learning experiences of folk musicians in the Anglophone West. The chapter draws on the findings of the Digital Folk project, funded by the Arts and Humanities Research Council (UK), and begins by summarizing and problematizing the nature of learning as a concept in the folk music context. It briefly explicates the instructive, appropriative, and locative impacts of digital media for folk music learning before exploring in detail two case studies of folk-oriented social media: (1) the phenomenon of abc notation as a transmissive media and (2) the Mudcat Café website as an example of the folk-oriented discussion forum. These case studies are shown to exemplify and illuminate the constructs of traditional transmission and vernacularism as significant influences on the social shaping and deployment of folk-related media technologies. The chapter concludes by reflecting on the need to understand the musical learning process as a culturally performative act and to recognize online learning mechanisms as sites for the (re)negotiation of musical, cultural, local, and personal identities.

Making the point? The audiovisual/digital media dissertation

2014 ◽  
Vol 6 (1) ◽  
pp. 98-118
Author(s):  
Coral Houtman ◽  
Maureen Thomas ◽  
Jennifer Barrett
Keyword(s):  
Digital Media ◽  
Film Theory ◽  
Education And Training ◽  
Content Type ◽  
Hands On ◽  
Practice Based Research ◽  
The University ◽  
Depth Interviews ◽  
And Training ◽  
Practical Recommendations

Purpose – The purpose of this paper is to address the advantages of education and training in creating the “Audiovisual/Digital Media Essay” (AV/DME), starting from visual and cinematic thinking as a way of setting up, developing and concluding an argument. Design/methodology/approach – Recognising the advantages to education and training of the “AV/DME” this paper explores ways of enabling visually disciplined students to work on film theory within their chosen medium, and to develop arguments incorporating audiovisual sources, using appropriate academic skills. It describes a hands-on BA/MA workshop held at Newport Film School (May 2011) and subsequent initial implementation of an examinable DME. The paper contextualises the issue in the light of practice-led and practice-based research and of parity with written dissertations. Drawing on analysis of in-depth interviews with students and tutors, it makes practical recommendations for how to resource, staff and support the implementation and continuation of the AV/DME and/or dissertation. Findings – The paper feeds back from both students and staff on the running of an initial AV/DME workshop and finds that the Film School Newport is suited to running the AV/DME and suggests a framework for its support. Research limitations/implications – The study needs to be followed up when the students complete their full dissertations. Practical implications – The AV/DME needs sufficient technical and human resources to support student learning. Originality/value – The paper provides a clear and original framework for teaching, supporting and assessing the AV/DME. This framework can be disseminated beyond the University of Wales Newport, and can be used to teach the AV/DME in further contexts and to wider groups of students.

scholarly journals CPI Welcomes Jennifer Eiserman's Special Issue

2017 ◽  
Vol 9 (1) ◽  
Author(s):  
Cecille DePass ◽  
Ali Abdi
Keyword(s):  
Special Issue ◽  
Arts And Humanities ◽  
The Arts ◽  
University Of Calgary ◽  
The University ◽  
Historical Life

In Us-Them-Us, several artists affiliated with the University of Calgary, and an invited poet, adopt perspectives, usually associated with that of being agents provocateur. Key themes, issues, images, symbols, and slogans associated with postcoloniality and postmodernity are well illustrated in particularly, vivid ways. Thank you Jennifer Eiserman, for working closely with the contributors, in order to, produce a special issue which highlights well established traditions of the arts and humanities. This CPI Special Issue holds up for scrutiny, central aspects of our troubling contemporary and historical life worlds.

Acting, Singing, Dancing, and So Forth: Theatre (Research) in the University

2004 ◽  
Vol 45 (2) ◽  
pp. 263-269
Author(s):  
W. B. Worthen
Keyword(s):  
Life Forms ◽  
Genetically Engineered ◽  
Corporate University ◽  
Martha Graham ◽  
Global Epidemic ◽  
Commodity Culture ◽  
Arts And Humanities ◽  
The Arts ◽  
Oryx And Crake ◽  
The University

About midway through Margaret Atwood's dystopian novel Oryx and Crake, the protagonist Jimmy (later known as Snowman, survivor of a genetically engineered global epidemic induced by his childhood friend, Crake) leaves home for the university, or in this case for the Martha Graham Academy. In a culture driven by the collusion of technology and capital it's not surprising that the best students are sent to lavish technical universities (Crake attends the Watson–Crick Institute), while arts and humanities students listlessly rusticate at Martha Graham, learning the pointless yet “vital arts” of “acting, singing, dancing, and so forth” and how to deploy them in the service of commodity culture (Jimmy's skill with language leads him to major in Applied Rhetoric, eventually writing advertising copy for Crake's new life forms). Like much else in Oryx and Crake, Atwood's vision jibes chillingly enough with the rhetoric of today's corporate university: compared to jet propulsion, cancer research, or even the battle of Appomattox (on my campus, history is a social science), the arts and humanities can be made to seem “like studying Latin, or book binding: pleasant to contemplate in its way, but no longer central to anything” (187).

Inside the global teaching machine: MOOCs, academic labour and the future of the university

2016 ◽  
Vol 9 (2) ◽  
pp. 66-88 ◽  
Author(s):  
Michael A. Peters
Keyword(s):  
Higher Education ◽  
Political Economy ◽  
Digital Media ◽  
Hierarchical Structures ◽  
Critical Issue ◽  
Research Network ◽  
Quality Of Higher Education ◽  
History Of ◽  
History Of The University ◽  
The University

This special issue focused on ‘Digital Media and Contested Visions of Education’ provides an opportunity to examine the tendency to hypothesise a rupture in the history of the university. It does so by contrasting the traditional Humboldtian ideals of the university with a neoliberal marketised version and in order to ask questions concerning evaluations of the quality of higher education within a knowledge economy. Theorising the rupture has led to a variety of different accounts most of which start from an approach in political economy and differ according to how theorists picture this change in capitalism. Roughly speaking the question of whether to see the political economy of using social media in higher education from a state perspective or a network perspective is a critical issue. A state-centric approach is predisposed towards a reading that is based on a critical realist approach of Marxist political economy (Jessop 1993). By contrast an approach that decentres the state and focuses on global networked finance capitalism ironically grows out of a military-university research network created by the U.S. government. Arguably, networks, not states, now constitute the organising global structure (Castells 2009) and while state-centric theory with hierarchical structures are still significant, relational, selforganising and flexible market networks have become the new unit of analysis for understanding the circuits of global capital (Peters 2014; Peters 2009). However, states still have a role to play in norming the networks or providing the governing framework in international law.

scholarly journals The 'go digital' Bristol experience

2021 ◽  
pp. 57-62
Author(s):  
Gloria Visintini
Keyword(s):  
Teaching And Learning ◽  
Assessment Practices ◽  
Digital Education ◽  
The Arts ◽  
Difficult Conversations ◽  
Education Agenda ◽  
University Of Bristol ◽  
The University ◽  
Work Done ◽  
Academic Year

This article describes the move to digital teaching and learning for the language team in the School of Modern Languages (SML) at the University of Bristol as a consequence of COVID-19 in March 2020. Topics discussed here include the educational guidelines the university put in place; how these were followed and implemented by colleagues in Modern Languages; the new digital teaching and assessment practices; how decisions were reached across languages; technologies that people used and the support available; challenges in delivering teaching; and, lastly, the opportunities created for staff and students. In describing our practice during the pandemic, I will also offer my personal take and observations as the person responsible for digital education in the Arts Faculty who assisted the language team in this transition. I will reflect on how this pandemic has accelerated our digital education agenda and how having a background in language teaching has helped and informed some of the – sometimes difficult – conversations I had with my language colleagues during these fast-moving and uncertain times. The article will end with a brief description of some of our remaining challenges and lessons learnt while the university has announced that next academic year will be delivered largely digitally. The work done so far will inform our planning.

scholarly journals Implementing CLIL in Schools: The Case of the GoCLIL Project in Portugal

e-TEALS ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 43-72 ◽  
Author(s):  
Maria Ellison ◽  
Álvaro Almeida Santos
Keyword(s):  
Educational Approach ◽  
Arts And Humanities ◽  
Rich Description ◽  
Monitoring Process ◽  
Grassroots Initiatives ◽  
The Rich ◽  
The University ◽  
State Schools ◽  
Academic Year

Abstract Content and Language Integrated Learning (CLIL), an educational approach in which an additional language is used to teach school subjects, has become increasingly widespread within state schools across Europe since the acronym was coined in the mid-nineties. This now includes Portugal where CLIL activity across educational levels has been growing in recent years. Like other national contexts in Europe, this has also been through the grassroots initiatives of individual schools keen to influence positive change in educational practices and reap the benefits which CLIL is purported to bring about. One such case is the GoCLIL project at Escola Secundária Dr. Joaquim Gomes Ferreira Alves in Valadares, Vila Nova de Gaia, which has been operating a CLIL programme through English since the academic year 2013-2014. This article outlines fundamentals of implementing CLIL in schools and provides an overview of the strengths, weaknesses, opportunities and threats (SWOT) of the case. It uses data collected from questionnaires administered to teachers, pupils and parents, lesson observations, pupil focus groups, and teacher reflections obtained during the ongoing monitoring process led by the Faculty of Arts and Humanities of the University of Porto. The data contribute to the rich description of the project from which it has been possible to identify and compare findings across years, as well as factors which have contributed to its sustainability. Insights gained from this case study will be interesting and potentially useful for schools which are considering setting up a project of this kind.

Transborder Immigrant Tool

Transfers ◽  
2011 ◽  
Vol 1 (3) ◽  
pp. 113-118
Author(s):  
Fernanda Duarte
Keyword(s):  
Law Enforcement ◽  
Cell Phone ◽  
Humanitarian Aid ◽  
Arts And Humanities ◽  
The Arts ◽  
Mexico Border ◽  
Border Crossers ◽  
Available Technology ◽  
The University ◽  
The U.S

The Transborder Immigrant Tool is a Border Disturbance Art Performance that discusses the physical and virtual limits of the U.S.–Mexico frontier. It was developed by the Electronic Disturbance Theater (EDT) with the funding of the Arts and Humanities Grant 2007–2008 at the University of California in San Diego. The project uses an inexpensive GPS-enabled cell phone and a custom piece of software, the Virtual Hiker Algorithm, to guide border crossers in the desert. The crossing of the U.S.–Mexico border can be deadly due to the severe conditions of the environment; once in the Mexican desert, the software installed in the cell phone directs the immigrant toward the nearest aid site, be that water, first aid or law enforcement, along with other contextual navigational information. According to the EDT, the Transborder Immigrant Tool was created with the aim of reappropriating widely available technology to be used as a form of humanitarian aid, as well as offering a tactical intervention of distraction and disturbance in the order of transnational corridors. In addition to the navigational capabilities of the Tool, the performative effect is also provided through poetry made available on the screen of the cell phone. It is with this poetry that the artists attempt to rescue a sense of hospitality and to alleviate the difficulties of the journey.

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