Session Information
29 SES 14, Parallel Paper Session
Paper Session
Contribution
Abstract
Four environments were selected where the subject of art allows students to make paraphrases in art as a choice during secondary school. In this study, comparisons are made between digitally produced paraphrases, handmade paraphrases and blended production. The purpose is to shed light on how attitudes to appropriations can be related to different media-specific tools. Theories about quotations in art are used to comment on students’ work when paraphrasing by means of digital and/or manual techniques. The concluding remarks suggest that digital paraphrases of theme dominate, using quite simple juxtapositions but still with interesting implications. Different ways of digitally working with pictures exposes multimodal ways for pupils to appropriate picture-making for their own purposes.
The aim is to outline how the conception of the Art subject can be related to the digital devices within the subject, and to some degree how digital media are evaluated when grading students.
The aesthetics of paraphrases is part of an ongoing chain of representations via representations. This is discussed in a dissertation where a theory of paraphrases in 20th century art is presented (Örtegren 1992). It is stated that a paraphrase has an intertextual relation to the alluded work. With paraphrases of form, the main transformation deals with changes in the way a given subject is represented. With paraphrases of theme, the main transposition deals with representing the earlier subject in a new context. These two types basically refer to specific works of art. With the third type, paraphrases of style, the art referred to groups of works, and uses common denominators such as artists or styles in order to comment on these. Art paraphrases tend to focus on the interplay between originality and imitation, both within contemporary art and between modernist and traditional concepts of art.It is stated that in the late modern and postmodern era paraphrases are becoming a genre of their own. The connection between originality and the fear of influence are no longer in opposition.
The connections between ‘made by yourself’ and ‘handmade’ are still quite strong among the pupils in general. A more sophisticated view of the possibilities of digital appropriations being original work on the same premises is not in place. Still, there is evidence that once pictures are digitally produced, with a lot of effort and solutions to emerging problems are at hand, it is accepted and regarded as important work both by the students and by their teachers. All in all, the experience of these types of appropriations is relatively uncommon, and the assessment criteria still need to be elaborated more in practice. The use of digital media within Art holds strong potential for opening up students’ possibilities to create their own pictures that they can master and can feel proud of. This demonstrates that possible ways of using imitation as an important step towards original creations can be explored when using digital media.
Method
Expected Outcomes
References
References Delacruz, E. (2009). ‘Old world teaching meets the new digital cultural creatives’, International Journal of Art & Design Education, 28(3). Erstad, O., Gilje, O., & de Lange, T. (2007), ‘Re-Mixing Multimodal Resources: Multiliteracies and Digital Production in Norwegian Media Education’, Learning, Media and Technology[Electronic Version] 32.2, (pp. 183-198) Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: The real benefits of visual arts education. New York: Teachers College Press. John, P. (2005), ‘The sacred and the profane: Subject sub-culture, pedagogical practice and teachers’ perceptions of the classroom uses of ICT’, Educational Review, 57(No. 4),November. Marner, A & Örtegren, H (2013) ‘Four approaches to digital media in art’, Education Inquiry (in press). Phelps, R., & Maddison, C. (2008), ‘ICT in the secondary visual arts classroom: A study of teachers’ values, attitudes and beliefs’ ,Australasian Journal of Educational Technology, 24(1), 1–14. Skolverket (2011), Läroplan för grundskolan, förskoleklassen och fritidshemmet/ grundskolan Lgr 11, Bild. [Curriculum for compulsory school, the pre-school class and leisure-time centre Lgr 11 Art]. Örtegren, Hans (1992) (diss), Konst med konst som motiv, Umeå. Örtegren, Hans (2012), ‘The Scope of Digital Image Media in Art Education’, Computers & Education, 59 (2012) 793–805.
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