Now that digital and web culture has permeated both the theory and practice of education in the 21st century, these resources offer recent perspectives on how and when to incorporate online space into the structure and intention of the studio environment.
“…universities have been slow to embrace the full social and collaborative strengths of the web and to align themselves to the emerging practices of open standards that will shape the 21st century. For the most part, universities still prefer to work within their ‘walled gardens’ purpose-built by the institution. These are typically ‘push’ systems with strict protocols that disallow external access or control. Although it may be disruptive, universities need to adopt the best practices of the social web in order to improve their internal processes, and to transform themselves into more outwards-facing teaching and research institutions.” (Ross Rudesch Harley, Can Open Learning Have a Future in the University? [Leonardo, 44, no. 2, 2011], 168-9).
Ascott, Roy, Edward A, Shanken. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness. Berkeley, Calif.; London: University of California Press, 2007.
“Long before e-mail and the Internet permeated society, Roy Ascott, a pioneering British artist and theorist, coined the term “telematic art” to describe the use of online computer networks as an artistic medium. In Telematic Embrace Edward A. Shanken gathers, for the first time, an impressive compilation of more than three decades of Ascott’s philosophies on aesthetics, interactivity, and the sense of self and community in the telematic world of cyberspace.” (abridged abstract)
Barber, Tene C. “The Online Crit: The Community of Inquiry Meets Design Education.” Journal of Distance Education 25, no. 1 (2011).
“…Asynchronous discussion technologies offer the advantage of providing time for reflection essential for higher order cognitive thinking. In the context of a ten-week graphic design foundations course in the Digital Graphic Design program at Vancouver Community College, this advantage provides an avenue for advancing critical discussion of design work.” (abridged abstract)
Carpenter, B. Stephen, and Lauren Cifuentes. “Visual Culture and Literacy ONLINE: Image Galleries as Sites of Learning” Art Education, 64, no. 4 (July 2011): 33-40.
The article outlines the impetus behind developing “Seeing Culture”, an online image gallery used as an educational tool for graduate and undergraduate art students. The text addresses the project’s relationship to the current ubiquity of social media and online image sharing technology and presents recent user feedback.
Delacruz, Elizabeth. “Old World Teaching Meets the New Digital Cultural Creatives.” International Journal of Art & Design Education 28, no. 3 (October 2009): 261-268.
“…this writer proposes that technology pedagogy is not actually about digital technologies per se, but about what we intend to do with new technologies in the twenty-first century. Old notions of art as an embodiment of things that matter and a testament to the human condition are now connected to contemporary ideas about citizenship, caring and public engagement.” (abridged abstract)
Harley, Ross Rudesch. “Can Open Learning Have a Future in the University?” Leonardo, 44, no. 2 (2011): 168-9.
“The writer discusses the potential of learning in universities using open Web and social software. Most universities offer centralized Web resources designed to help staff and students manage their learning experience. However, these closed systems, variously called Virtual Learning Environments (VLE) or Learning Management Systems (LMS), are not the best solution for digital-media arts education. Instead, external user-centric Web services should be allowed to flow into university Web systems, thereby allowing students and teachers to increase their participation in the broader production (and critique) of knowledge in the media arts and other disciplines.” (Publisher’s Abstract)