PRACTICAL APPLICATION OF DIGITAL MEDIA IN ART EDUCATION

Author(s):  
W. Ye
Neofilolog ◽  
2021 ◽  
pp. 185-195
Author(s):  
Halina Widła

 At the end of the first semester of the 2019/2020 academic year, we conducted an opinion survey of 50 philology students on their willingness to adopt new pedagogical approaches based largely on digital media. We measured the degree of appreciation of different forms of academic work, including lectures, tutorials and seminars, modified by these approaches. After a year of the COVID-19 pandemic, we investigated the potential revision of views on the practical application of the innovations described in 2020. Our research focused on appreciating the usefulness and effectiveness of the teaching methods analyzed during the initial research, judged through the prism of current experiences.  


Author(s):  
Kristin Klein

AbstractConcepts such as Post-Digital and Post-Internet act as symptomatic descriptors of digitally permeated cultures. Starting from a broad understanding of digitality in its societal and cultural-historical interdependencies, both terms are first introduced and afterward extended through the discussion of four theses, with a particular emphasis on aesthetic aspects. Elaborating on (1) distributed artworks, (2) hybrid subjects, (3) fluid materiality, and (4) blind spots, each thesis leads to a proposition for art education dealing with digital cultures. The chapter concludes by highlighting art education’s potential in reflecting on digital cultures and in developing new models and methods for practical application.


2019 ◽  
Vol 11 (6) ◽  
pp. 1605 ◽  
Author(s):  
Li-Hsing Ho ◽  
Hung Sun ◽  
Tsun-Hung Tsai

The purpose of this study was to investigate the use of 6-DoF high immersive virtual reality for stereoscopic spatial mapping to assess the impact of perceived spatial capabilities on 3D software learning motivation. This study wasn’t a bound course with mandatory participation, and students were free to participate in the trial, and employed HTC VIVE, which provides highly immersive experiences, to elicit strong emotional responses. A total of 111 students from a university digital media department were invited to participate in a 3D VR painting experiment in which students created paintings using Google Tilt Brush. A 5-point scale based on the ARCS learning motivation model was adopted to collect student data. Perform a factor analysis of the data twice to select the appropriate factor (p = 0.000 < 0.05). Specifically, exploratory factor analysis was used to classify factors based on four constructs. The Cronbach alpha values of ARCS were 0.920, 0.929, 0.693 and 0.664, respectively, both >0.6, which still indicate favorable reliability. The results show that immersive VR can promote students’ motivation and interest in learning 3D animation. However, the practical application of this technology requires solving problems related to hardware and space.


Author(s):  
Torsten Meyer

AbstractFor some years now, fundamental ideas of newer theoretical trends in the context of Actor Network Theory have been leaking into the minds of that generation of (post-internet) artists who no longer regard the radical change in the socio-technical conditions of digital media cultures as something special or new. These trends are also leaking into the theories of the subject and thus also into the theory(s) of art education. This coincides with the assumption that the humanistic conception of the human individual as a subject, and the associated understanding of education in modernity, no longer matches neither with the artistic practices based on collaborative networked socio-technical processes that can be observed in the post-internet culture. Therefore, changing mediality leads to changing subjectivity.


2013 ◽  
Vol 4 (4) ◽  
pp. 23217 ◽  
Author(s):  
Anders Marner ◽  
Hans Örtegren
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document