Embracing Doubt: Teaching in a Post-digital Age

Since the concept of the teacher seems to be, that she or he is the one who owns knowledge—in contrast to students who don’t—it is understandable that teachers have doubts creating a situation out of those usual boundaries. In this chapter, it is argued that if we want to teach adequately for the post digital age, we have to embrace doubt. Doubt is a force that falls out of the usual teleological approach of teaching, because we don’t exactly know the outcome. This theoretical approach translates into practice—or better: is in itself a practical approach—because since one does not know which outcome an educational situation will have, he/she has improvise, embrace doubt, and deny classical power structures.

Post Scripts in the Present Future: Conjuring the Post-conditions of Digital Objects

Navigating the post-conditions of digital objects, from post media to post-internet, this chapter explores how might making and learning in art and media education respond to pervasive connectivity that blurs online and offline distinctions. In an attempt to anticipate a future of algorithms, connectivity, and issues of access, an argument to advance a range of theoretical tools that may provide insight as to the immanent qualities of data and connectivity that impact making and learning in the arts is made. Focusing on posthumanism and post-theories constructed to provoke the dynamism of materiality, digital objects are conceptualized to understand new opportunities for contemplating how artists working in 3D modeling and digital fabrication may offer insights into the possibility of making meaning at this moment.

Post-internet Verfremdung

The ease of uploading images on Instagram has meant that a whole generation grows up paying closer attention to visual language. At the same time, Instagram and other social media have come to dominate visual culture to the extent that we need to make an effort to unlearn what they have taught us. Here the internet is seen not only as a vital part of visual culture but also as a site of learning. This chapter presents a school assignment as a possible approach to online visual culture. By creating Instagram fiction, we can understand how social media operate both visually and socially. Parody and estrangement, or the Brechtian Verfremdungseffekt, are examples offered to examine a phenomenon and activate critical thinking.

Notes on Corpoliteracy: Bodies in Post-digital Educational Contexts

This chapter demonstrates the potential to challenge power relations, and reconsider teaching practices and conceptions of learning bodies. How do bodies in a digital learning setting perform are read and observed? How they can be included in learning settings? Since teaching and learning increasingly take part in digital learning environments, especially since the outbreak of the COVID-19 global pandemic, digital art teaching needs rethinking toward the knowledge of learning bodies and of the perception of learning in the digital realm: a digital corpoliteracy.

Educating the Commons and Commoning Education: Thinking Radical Education with Radical Technology

All over the world, education—which could be understood as a universal right and public good—is facing processes of economization and privatization. Technology—which could be understood as a common means of production, collaboratively developed—is taken away from the public and put into corporate hands. This article is designed as a conversation investigating the question of shared and common knowledge from the perspectives of an educator and an engineer, respectively. The dialogue explores necessary convergences in radical practices of commoning, and possible future strategies for education and Open Technology. It asks how new models can challenge the neoliberal agenda and move away from established policies, and how a collective re-appropriation of the means of production could emerge within a post-digital society.

A Meditation on the Post-digital and Post-internet Condition: Screen Culture, Digitalization, and Networked Art

This chapter attempts to provide a broad understanding of post-digital and post-Internet problematic drawing on the state of screen culture, digitalization, and networked art. It calls on the theories of Paul Virilio and Bernard Stiegler to highlight some of the difficulties and malaise they have articulated related to the speed of technologies and their proletarianization. Throughout this chapter, voices of Deleuze and Guattari are also heard and summoned. It concludes by examining several networked art installations as exemplars of resistance to answer their concerns. The chapter ends on a question mark as to where to turn to next.

Post-Internet Art and Pre-Internet Art Education

Post-Internet art represents a challenge to previous artistic concepts that tended to view the utilization of networked digital technologies as either the fulfillment of utopian fantasies of ego destruction, or the dystopian realization of a posthuman nightmare. Post-Internet art oscillates between these two extremes, making use of numerous interrelated networks that are decentralized in nature. Formal schooling is generally centralized, and art education tends to operate in a similar manner within this system, regardless of attempts to substantially change the structure of the field. A comparison of these two different systems might offer art educators opportunities to rethink practices that have been virtually unaffected by decentralization.

Post-digital, Post-internet: Propositions for Art Education in the Context of Digital Cultures

Concepts 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.

Toward an Anti-Racist and Anti-Colonial Post-Internet Curriculum in Digital Art Education

This chapter examines how reframing post-internet art through anti-racist and anti-colonial lenses in digital art curriculum can cultivate critical and transformative artist practices for students. Anti-racist and anti-colonial approaches offer frameworks for critically analyzing identity, ideology, and power relations toward decentering the art canon and qualitatively shifting curriculum toward critical dialogues and social action. Through a retrospection of the author’s own active and ongoing transformation as teacher, as well as through an analysis of artist Tabita Reziare’s post-internet practice, this article builds a pedagogical foundation for students to generate their own critical consciousness in learning and artmaking through a digital art curriculum.

A New Sujet/Subject for Art Education

For 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.