Digiart and Human Rights
It has been found that educators in all disciplines are confused with what to do with digital technology (Buckingham, 2007; Cuban, 2001; Roland, 2010; Watts, 2008). What is crucial to education is the merging of effective, meaningful pedagogy with suitabl
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15. DIGIART AND HUMAN RIGHTS New Media Visual Art Integration for Teacher Candidates OR Avoiding the Information, Communication Technology (ICT) Vacuity Using Visual Art Education Infusion
A NEW MEDIA VISUAL ART INTEGRATED PROJECT FOR TEACHER CANDIDATES
It has been found that educators in all disciplines are confused with what to do with digital technology (Buckingham, 2007; Cuban, 2001; Roland, 2010; Watts, 2008). What is crucial to education is the merging of effective, meaningful pedagogy with suitable and valuable technological infusion (Buckingham, 2007; Buckingham, Willett, & Pini, 2011; Mullen & Rahn, 2010; Palfrey & Gasser, 2008). The question is, how does one do this well? Many teachers approach the integration of technologies from a ‘technicist’ (technical) rather than from a creative, artistic perspective (Roland, 2010; Watts, 2008). Put simply, they are perplexed about what to teach, and how to teach it. One reason for this is that teachers tend to teach the way they have been taught (Greb, 1997; Roland, 2010).1 Some educators simply give up and let computers sit unused (Cuban, 2001; Palfrey & Gasser, 2008). If teachers do use technology in classrooms they primarily use it in boring, unimaginative ways, repeatedly making use of it for retrieving or showcasing information: in short, teachers habitually employ computers as glorified chalkboards, digital libraries, or simple notepads (Buckingham, 2007; Cuban, 2001; Roland 2010). The body of research is still evolving in this area and far more is needed in order to learn ways in which to creatively integrate digital technologies into curricula while underscoring effective pedagogy (Bell & Bull, 2010; Castro & Grauer, 2010; Shin, 2010; Watts, 2008). Writers increasingly have argued that visual art and digital technologies have a natural affinity (Bastos, 2010; Gouzouasis, 2006; Sweeney, 2010; Watts, 2008). Gouzouasis (2006) advocates for all educators to view the arts as the foundation when teaching digital technologies in order to foster our youths’ imaginations and creativity. He writes that, “If we are to venture beyond the vacuum of ICT contexts, it is urgent that artists and arts educators begin rethinking the role of the arts and all forms of technologies” (p. 9). In addition to this, Buckingham, a seminal researcher in cultural and media studies, strongly advises all teachers to adopt the visual art education model because he envisions the crucial importance of art studio production J. B. Cummings & M. L. Blatherwick (Eds.), Creative Dimensions of Teaching and Learning in the 21st Century, 163–173. © 2017 Sense Publishers. All rights reserved.
J. BLACK
(hands-on art making). Art educators teaching studio typically nurture students’ self-expression and imaginations through the exploration of different art forms and themes (Buckingham, 2007, pp. 163–164). Why not do this with digital art as well? Hence, both Gouzouasis and Buckingham specifically point to the value of approaching digital technology infusion in other subject areas with an art educat
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