Ferramentas Web, Web 2.0 e software livre em EVT: estudo sobre a integração de ferramentas digitais no currículo da disciplina de educação visual e tecnológica

A utilização das TIC ocupam um lugar cada vez mais importante nas nossas escolas, marcado sobretudo pela evolução das tecnologias e pela utilização em contexto educativo de muitas ferramentas da Web 2.0. Esse facto é muito notório na disciplina de Educação Visual e Tecnológica, de carácter eminentemente prático, onde é permitido explorar várias ferramentas digitais para abordagem de conteúdos da disciplina e para a criação de produtos gráficos e plásticos. Com o aparecimento da Web 2.0 e a disponibilização de milhares de novas ferramentas digitais aos utilizadores da Internet, estimula-se um interesse cada vez maior na adoção de metodologias e estratégias com recurso a estes media e que suportem uma aprendizagem mais eficaz e motivadora para os alunos, articulando-se os suportes tradicionais de EVT com os novos media digitais. Neste contexto, o presente estudo é o resultado duma investigação-ação realizada no âmbito do Programa Doutoral em Multimédia em Educação da Universidade de Aveiro onde se implementou a integração de ferramentas da Web, Web 2.0 e Software Livre em contexto educativo na disciplina de EVT, na qual poderiam ser utilizadas tanto as técnicas tradicionais de realização mais usuais na disciplina como a integração e articulação com as ferramentas digitais, suportadas por software livre (e outros de utilização gratuita), a Web e a Web 2.0 para suporte ao ensino e aprendizagem dos diversos conteúdos e áreas de exploração da disciplina. Este estudo, desenhado em três ciclos, envolveu num primeiro momento a constituição de uma comunidade de prática de professores alargada, sendo criadas seis turmas de formação que reuniram um total de 112 professores que pretendiam integrar as ferramentas digitais em EVT. Para além da pesquisa, análise, seleção e catalogação destas 430 ferramentas digitais recenseadas, produziram-se 371 manuais de apoio à utilização das mesmas, sendo estes recursos disponibilizados no espaço do EVTdigital. Num segundo ciclo, decorrente da avaliação realizada, foi criada a distribuição EVTux para simplificar o acesso e utilização das ferramentas digitais em contexto de EVT. Finalmente, o terceiro ciclo, decorre da eliminação da disciplina de EVT do currículo do 2º ciclo do ensino básico e a sua substituição por duas novas disciplinas, tendo-se realizada a respetiva análise de conteúdo das metas curriculares e produzido a aplicação As ferramentas digitais do Mundo Visual, concebida para contextualizar e indexar as ferramentas digitais selecionadas para a nova disciplina de Educação Visual.Os resultados deste estudo apontam claramente para a possibilidade de integrar na disciplina de Educação Visual e Tecnológica (ou no presente momento, em Educação Visual) ferramentas digitais para abordagem aos conteúdos e áreas de exploração, bem como a possibilidade de se constituírem facilmente comunidades de prática (como foi o caso) que possam colaborar na catalogação destas ferramentas no contexto específico da disciplina e para a necessidade sentida pelos professores em obter informação e formação que os possa atualizar quanto à integração das TIC no currículo. Apresentam-se, ainda, as limitações deste estudo que passaram sobretudo pelo impacto negativo que a eliminação da disciplina provocou na motivação dos docentes e a sua consequente participação no decorrer de algumas fases do trabalho, e ainda da dificuldade de gestão de uma equipa de professores colaboradores tão numerosa e diversificada. Nesse sentido, são também apresentadas sugestões para estudos futuros.

Re-viewing history: antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820

This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.

Why fundamentalism?

Why Fundamentalism? was an exhibition proposal and critical writing project developed from concept phase through to detailed proposal. It included an edited video document that lay out its core ideas and presented the diverse voices of each collaborator. A number of key themes were engaged around the hot-button (and much misunderstood) concept of Fundamentalism. The proposal included an exhibition layout, developed test imagery, ideas and animations, proposed forms for future works and a process whereby design briefs would lead to subsequent commissions. Two major grant applications were submitted to the Australia Council and Arts Queensland, with the support of State Library of Queensland, the University of Adelaide and numerous others. The project remains at the developed proposal stage awaiting suitable funding----- Critically the show became an active vehicle for drawing and exploring a line of distinction between ideas of ‘what is fundamental’ and ‘fundamentalism’ as it rested in the popular imagination, as well as in political and philosophical debates. It teased out and engaged with a number of key questions that included The Problem of Ungroundedness, A Politics of Finitude, The Post-modern/Pluralist Problem, Silent Fundamentalisms (Voices of Reason and Neo-con Religions), Fundamentalism as a Media Construct, The Pre and Post Cold-war Other, The Pressing Need for Foundations in the West and Islam as Foundationalism (rather than fundamentalism).

Knowmore (House of Commons)

Knowmore (House of Commons) is a large scale generative interactive installation that incorporates embodied interaction, dynamic image creation, new furniture forms, touch sensitivity, innovative collaborative processes and multichannel generative sound creation. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants’ presence around the table and how they touch it is registered, allowing up to five people to collaboratively ‘play’ this deeply immersive audiovisual work. Set within an ecological context, the work subtly asks what kind of resources and knowledges might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world. The work has successfully operated in two high traffic public environments, generating a subtle form of interactivity that allows different people to interact at different paces and speeds and with differing intentions, each contributing towards dramatic public outcomes. The research field involved developing new interaction and engagement strategies for eco-political media arts practice. The context was the creation of improved embodied, performative and improvisational experiences for participants; further informed by ‘Sustainment’ theory. The central question was, what ontological shifts may be necessary to better envision and align our everyday life choices in ways that respect that which is shared by all - 'The Commons'. The methodology was primarily practice-led and in concert with underlying theories. The work’s knowledge contribution was to question how new media interactive experience and embodied interaction might prompt participants to reflect upon the kind of resources and knowledges required to move past simply knowing what needs to be changed to instead actually embodying that change. This was achieved through focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) in concert with the complex field of layered imagery and sound. The work was commissioned by the State Library of Queensland and Queensland Artworkers Alliance and significantly funded by The Australia Council for the Arts, Arts Queensland, QUT, RMIT Centre for Animation and Interactive Media and industry partners E2E Visuals. After premiering for 3 months at the State Library of Queensland it was curated into the significant ‘Mediations Biennial of Modern Art’ in Poznan, Poland. The work formed the basis of two papers, was reviewed in Realtime (90), was overviewed at Subtle Technologies (2010) in Toronto and shortlisted for ISEA 2011 Istanbul and included in the edited book/catalogue ‘Art in Spite of Economics’, a collaboration between Leonardo/ISAST (MIT Press); Goldsmiths, University of London; ISEA International; and Sabanci University, Istanbul.

Dance dialogues : conversations across cultures, artforms and practices

These Proceedings, arising from the 2008 World Dance Alliance Global Summit, reflect both its spirit and diversity, re-appraising what dance is and might be in the 21st century. Through 53 papers from 14 countries in the Americas, Europe and the Asia-Pacific region, the authors — ranging from seasoned scholars to emerging artists publishing for the first time — span the perspectives of academics, educators, performance and community artists, health professionals and cognitive scientists; predominantly from dance but also from film, visual arts, science, performance and philosophy. The papers are grouped under the five Summit themes: Re-thinking the way we make Dance; Re-thinking the way we teach Dance; Mind/body connections; Transcultural conversations and Sustainability

Big art small viewer : a collaborative community project

Campus Kindergarten is a community-based centre for early childhood education and care located on campus at the University of Queensland (UQ) in Brisbane, Australia. Being located within this diverse community has presented many opportunities for Campus Kindergarten. It is creating and embracing possibilities that has formed the basis for ongoing projects for children and teachers involving research and investigation. In 2002 Campus Kindergarten embarked on a collaborative project with the Art Museum bringing together these two departments within the university community.

Building an Australasian Commons : Creative Commons case studies vol. 1

A collection of 60 case studies of the use of Creative Commons licensing in different sectors, including: music, social activism, film, visual arts, collecting, government, publishing and education.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

Modern Times : The Untold Story of Modernism in Australia

Richly illustrated and beautifully designed, Modern Times - The Untold Story of Modernism in Australia reveals how modernism transformed all aspects of Australian culture across five tumultuous decades from 1917 to 1967. The influence of modernism was far-reaching. "Modern Times" looks at all things modern and as diverse as art, advertising, photography, film, fashion, the body, architecture, interiors, recreational sites such as the new swimming pools and fountains, milk bars and auto culture.Modernism embodied the utopian possibilities of the twentieth century. It transformed Australian cities into complex metropolises and offered access to new cosmopolitan cultures. This is the first time that such diverse material has been brought together in one volume.

Patterning fashion : drafting a visual framework

Christine Schmidt uses swimwear to illustrate that the methodological practice of the assemblage of pattern pieces is inherent to the intellectual construction that underpins fashion's cultural and historical discourses. She argues that these common threads are woven together to shape the finished 'global' garment.

Indig-curious : what are the challenges for non Aboriginal theatre practitioners in accessing and interpreting Aboriginal themes?

How do non-Indigenous theatre practitioners, especially actors, access and incorporate Aboriginal themes in the plays they create or perform in? Will it ever be acceptable for a non-Aboriginal actor to play an Aboriginal role? In literature there are clear protocols for writing Aboriginal characters and themes. In the visual arts and in dance, non-Indigenous practitioners might 'reference' Aboriginal themes, but what about in theatre performance? This research embodies one cultural dilemma in a creative project and exegesis: exploring the complex issues which emerge when an Aboriginal playwright is commissioned to write an 'Aboriginal themed' play for two non-Aboriginal actors.

Lightsite

Lightsite is a room-sized pinhole camera which has been transported to a number of locations throughout the south of Western Australia. Lightsite was conceived as a way to celebrate a variety of individuals and their families, who have a very strong sense of connection to the landscapes in this region. The project documented herein was completed for “Hotspot” a cultural project initiated by Mix Artists Incorporated for the 2006 Perth International Arts Festival. The photographic works illustrated within were exhibited in regional centres throughout Western Australia during 2006, and continuing into 2007.

The Sun gives without ever receiving

A small scale sculpture that contributes towards my ongoing explorations into how our collective ability to sustain (the future) is as much a cultural problematic as it is an economic or technological one. The curatorial brief of the project was a technical one - in that each curated artist was to design a piece in CAD suitable for 3D resin printing - The object should be entirely generated through 3D visualisation and modelling tools and should be machined and shipped within the dimensions of 6cm x 6cm x 6cm. My design for this brief was influenced by recent research I had conducted in Mildura in the Sunraysia irrigated region of NW Victoria. Each name set within the work is an Australian soldier/settler – who, on returning from the ‘Great War’ was duly awarded a ‘block’ in Australia’s new inland irrigated settlements - with the explicit task of clearing it to plant and reap. Through their concerted and well-intentioned efforts, these workers began to profoundly re-shape Australia’s marginal country - inadvertently presaging the bleak future faced today by many of Australia’s inland lands and river systems. Furthermore, through that time's predominant colonial conception of ‘terra nullius’ (this land is unoccupied and therefore free to be claimed) they each played a small but formative part in building the profound cultural divide between land and peoples that still haunts Australia today. THE EXHIBITION: Inside Out is a compelling international touring exhibition featuring forty-six miniature sculptures produced in resin using 3D printing technologies. Developments in virtual computer visualisation and integrated digital technologies are giving contemporary makers new insight and opportunities to create objects and forms which were previously impossible to produce or difficult to envisage. The exhibition is the result of collaboration between the Art Technology Coalition, the University of Technology Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and Dartington College of Arts at University College Falmouth in the United Kingdom.

Genres of editorial photographs and patterns of photographic practice

Taking an 'action genre' approach (Lemke, 199**) this paper analyses representational strategies of three genres of photography: press photography, photojournalism and documentary photography. While there has been much written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of of editorial photography.

Max Dupain and the photography of Australian architecture

This thesis considers Max Dupain (1911-1992) and his contribution to the development of architectural photography in Australia. Through his continuous and prolific output over six decades of professional photography Dupain greatly stimulated awareness of and interest in Australian architecture. Before Dupain began specialising in the field, little consistent professional architectural photography had been practised in Australia. He and some of his close associates subsequently developed architectural photography as both a specialised branch of photography and - perhaps more significantly - as a necessary adjunct to architectural practice. In achieving these dual accomplishments, Dupain and like-minded practitioners succeeded in elevating architectural photography to the status of a discipline in its own right. They also gave Australians generally a deeper understanding of the heritage represented by the nation's built environment. At the same time, some of the photographic images he created became firmly fixed in the public imagination as historical icons within the development of a distinctive Australian tradition in the visual arts. Within his chosen field Dupain was the dominant Australian figure of his time. He was instrumental in breaking the link with Pictorialism by bringing Modernist and Documentary perspectives to Australian architectural photography. He was an innovator in the earlier decades of his professional career, however, his photographic techniques and practice did not develop beyond that. By the end of the 1980s he had largely lost touch with the technology and techniques of contemporary practice. Dupain's reputation, which has continued growing since his death in 1992, therefore arises from reasons other than his photographic images alone. It reflects his accomplishment in raising his fellow citizens' awareness of a worthwhile home-grown artistic tradition.