Beyond Robotic Wastelands of Time: Abandoned Pedagogical Agents and New Pedalled Pedagogies

Chatbots, known as pedagogical agents in educational settings, have a long history of use, beginning with Alan Turing’s work. Since then online chatbots have become embedded into the fabric of technology. Yet understandings of these technologies are inchoate and often untheorised. Integration of chatbots into educational settings over the past five years suggests an increase in interest in the ways in which chatbots might be adopted and adapted for teaching and learning. This article draws on historical literature and theories that to date have largely been ignored in order to (re)contextualise two studies that used responsive evaluation to examine the use of pedagogical agents in education. Findings suggest that emotional interactions with pedagogical agents are intrinsic to a user’s sense of trust, and that truthfulness, personalisation and emotional engagement are vital when using pedagogical agents to enhance online learning. Such findings need to be considered in the light of ways in which notions of learning are being redefined in the academy and the extent to which new literacies and new technologies are being pedalled as pedagogies in ways that undermine what higher education is, is for, and what learning means.

“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.