Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

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and possibilities of job. Therefore, education must be focused on the formation of a "professional" to attach to the trade and production network. Apart from the above, there are other views within the so-called postmodernism on art education and teachers Kerry Freedman, Patricia Stuhr and Arthur Efland demonstrated it. These allude to that art, ultimately, participates in the construction of reality (political, cultural and symbolic construction), and therefore the aim of Art Education in our context should be, understanding this reality, the apprehension of these created worlds. However, while critical pedagogy in relation to art, understood as art critical pedagogy, progresses through that line or perspective outlined, it requires an extra commitment. This is clearly a difference of action. Exercising artistic critical pedagogy engages us not only to understand our worlds, but to build them. It urges us to exercise a critical attitude in education curriculum and to develop strategies based on how it shapes the subjectivity of students (McLaren, 1997). We highlight the importance of symbolic power of artistic achievement and his role in a networked society. It makes us active participants in the creation of collective and individual image (identity) and intercultural relations. We are involved in the political strategies of the society of spectacle. Art Critical Pedagogy constructs reality/realities and identity/identities. Not only analyzes them. Art Critical education involves a commitment to socio-cultural transformation, with the participation in power structures that shape public life. Art Critical Pedagogy requires transformation of reality (Escaño & Villalba, 2009). A new (hyper) context for art critical pedagogy: Internet. Following technological developments, progress on the Internet and its web potential educational, art education work could pay attention to greater social and pedagogical implications. Now is the time where we can establish true Internet hyper contexts oriented education. "Hypercontext" as those contexts that have transcended the physical to the cyber-reality, while remaining as true context of human, social, located on the Web. It will always be something more complex and elaborate than a simple web advertising or informational. The involvement of voice of the Other is a prerequisite for the hypercontext be developed and the inclusion of the singularity in the plurality is real through social networks, blogs or p2p software. We understand that there are different modes of Art Critical Pedagogy if we suggest that Critical Pedagogy, despite not forming a unified discourse, has managed to raise serious contradictions to the discourse positivist, ahistorical and depoliticized, which often assumes the forms of analysis used by liberal education and conservative modalities clearly visible in most schools (McLaren, 1997). In this sense, although there are contributions that are not self-defined as critical pedagogical they are clearly involved in this meaning. In this line of argument, we highlight for examples two websites that assume the challenge to propose detotalized actions and strategies as the laudable educational work (also art-educational) developed at the award winning blog "Iguales en las 3000" (since 2006): http://igualdad3000.blogspot.com. This labour is fruit of joint efforts between departments (Department of Plastic and Visual Education and Philosophy) from teachers and students of Secondary School, Antonio Dominguez Ortiz, located in a marginal area of the city of Seville. This work has emphasized the importance of the role of democratic interaction in the construction of educational narratives that are in the integral formation: strengthening their individual and collective social identity and as a person. Also, the absolutely dynamic didactic character shows that educational projects through the network do work and evolve, which is an example of a real network hypercontext. Other example that we define as participant in critical pedagogical methods and strategies are set forth in the web: The Bank of Common Knowledge (BCC) (http://www.bancocomun.org/). Web that emerged 2006 as a laboratory for mutual education of citizen to citizen, following the expansion of free software, social networks and systems p2p file sharing (BCC, 2009). That methodological line we might qualify as critical pedagogic at the time that it has the aim to develop, create and protect spaces for exchange and free flow of knowledge, enhance common knowledge as well as to provide a meaningful chance for continuous learning, and it finds strategies more effective than leading to new 82
forms of communication, training or participation (BCC, 2009). It is a social challenge in our competitive neoliberal society marked by other academic and educational criteria. So, we crossed the web threshold of Arts Education based technologies 1.0., and we have arrived to social and participatory possibilities of the web 2.0. However, we must not help but reflect on its aims and linkages with educational practice, social and political (as Giroux said). This reflection will always be a priority, whether related to technology or any other discipline associated to art. We are world builders and their social responsible. The essence of education is not knowledge update (though it is). This essence is not an accumulation of knowledge (although sometimes it supposes). However, Education (and education through and for art) implies a political, social and cultural comprehensive education for life. References BCC (2006): http://www.bancocomun.org/ (09/12/09) Efland, A., Freedman, K. & Sturh, P. (2003): La educación en el arte posmoderno [Postmodern Art Education], Barcelona: Paidós. Escaño, C. & Villalba, S. (2009): Pedagogía Crítica Artística, Sevilla: Diferencia Ediciones. Freire, Paulo (2007) [1970]: Pedagogía del oprimido, Madrid: Siglo XXI. Giroux, Henry, & otros (1999): La educación en el siglo XXI. Los retos del future inmediato. Barcelona: Grao. Iguales en las 3000 (2006): http://igualdad3000.blogspot.com (09/12/09). Jameson, Fredric (1998): Teoría de la Postmodernidad, Valladolid: Trotta. McLaren, Peter (1995): Pedagogía Crítica y Cultura Depredadora. Politicas de oposición en la era posmoderna [Critical Pedagogy and Depredatory Culture. Oppositional politics in a postmodern era ], Barcelona: Paidós. 83
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2010 ART&DESIGN for Social Justice
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5:30-6:00 Buffet Dinner 6:00-6:45 O
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Symposium Activities, January 18 Su
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(2 sessions combined- 1 hour 10 min
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Art, Education and the Internet: A
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There are basically four steps to j
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noisy doors, and dark classroom env
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highlighting slavery’s historic r
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Identity and Voice: Constructivist
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esources and venues we hope to secu
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Keller, G. D., Erickson, M., & Vill
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Our class partnered with a high sch
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Background: Eastern Woodland Indian
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design very much throughout the pro
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Work in Progress- Kids’ Guernica
Page 32 and 33: Examples of the Gap Between Art and
Page 34 and 35: Varbanova, L. (2009). Social entrep
Page 36 and 37: field for community building. This
Page 38 and 39: Gurin, Dey, Hurtado, and Gurin (200
Page 40 and 41: times from presenters that discrimi
Page 42 and 43: Levin, S., Van Laar, C., and Sidani
Page 44 and 45: of building and sustaining peace. L
Page 46 and 47: There is therefore clearly an inter
Page 48 and 49: Service Learning as a Strategy in t
Page 50 and 51: Enos, S.L., & Troppe, M. L. (1996).
Page 52 and 53: the artist was brought for a week o
Page 54 and 55: Fazey, I., Fazey, J. A., & Fazey, D
Page 56 and 57: The Affordable House: Making Design
Page 58 and 59: No doubt, it was not a miracle that
Page 60 and 61: Figure 2. Second Kids’ Guernica p
Page 62 and 63: Figure 6. Hamza, a visually impair
Page 64 and 65: health and safety issues for occupa
Page 66 and 67: Exemplary Teaching in Urban Schools
Page 68 and 69: Anderson, R. (1990). Calliope’s s
Page 70 and 71: initiatives are not specific to ado
Page 72 and 73: Growing Home: Creating Living, Sust
Page 74 and 75: housing method for refugees. The pr
Page 76 and 77: Filtering Access through Social Eng
Page 78 and 79: artists, engineers, community worke
Page 80 and 81: References Art 21 (2007a). Mel Chin
Page 84 and 85: Poster Images Poster Image # 1 84
Page 86 and 87: Artmaking as a Process for Explorin
Page 88 and 89: disposition is nurtured not only by
Page 90 and 91: constructs. Just as written respons
Page 92 and 93: Art and Life With Children Boris Ti
Page 94 and 95: Children with Guernica, Children wi
Page 96 and 97: lacked anywhere else to put these i
Page 98 and 99: References Baldassare, M. (1979). R
Page 100 and 101: Table 1. Environmental features add
Page 102 and 103: Figure 7. A view of the room’s en
Page 104 and 105: Radstone, S. (Ed.), (2000). Memory
Page 106 and 107: For centuries we have drawn on the
Page 108 and 109: Figure 2. Spiral Shell with Transpa
Page 110: Photographs Ansley Simmons Allys Pa
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