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04/26/2022 Some Thoughts on Performance and Materiality. Nina Horisaki-Christens

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04/26/2022 Some Thoughts on Performance and Materiality. Nina Horisaki-Christens

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In 1998, Paul Schimmel organized what is now considered to be one of the definitive exhibitions on performance art. Out of Actions: Between Performance and the Object was the first major museum survey of performance art, covering practices in the US, Europe and Japan, and opening up the door for a slew of museum exhibitions in more recent years that feature performance. MoMA's Marina Abramović show (2010), the Guggenheim's Tino Seghal exhibition (2010), this year's Whitney Biennial and the soon-to-open SFMoMA exhibition Stage Presence, not to mention many smaller museum exhibitions featuring performance art, were undoubtedly enabled by the precedent set by Out of Actions. Perhaps the most telling shift has been MoMA's decision in 2008 to amend the name of the Department of Media to The Department of Media and Performance Art, clearly signalling that in the intervening decade, performance had found its place within the major art institutions.

Influential as Out of Actions continues to be, as an early experiment in the institutionalization of an inherently experimental medium, it did not go without controversy, even within the very space of the museum itself. As Michael Rush noted in his review of the exhibition for Performance Art Journal in 1999:

For "Out of Actions," two L.A.-based artists with long track records in performance and multimedia, Mike Kelley and Paul McCarthy, were invited to "introduce" the exhibition in what would inevitably be a controversial manner, given their proclivities. . . . To the museum's credit, they let stand what is essentially a debunking of the exhibition's very existence, which, in Kelley's and McCarthy's eyes, is an attempt "to sway the construction of the history of performance art in the direction of a materialist art-historical reading." "Museums," they go on to say in a printed statement available in the gallery, "continue to find it difficult to present work whose . . . form and subject are time, memory, perception, spoken language, sound, human action, and interaction. . . . This prejudice creates an object-oriented history of contemporary art. Many significant works of art do not reference the genres of sculpture or painting and are not meant to be seen within the physical framework of the museum."

Certainly in comparison to exhibitions such as Abramović's and Sehgal's, in which the experiential aspect of the work is relayed by hiring live performers to stage, or re-stage as it may be, the works within the space of the museum, an exhibition that focuses on the material remains of performance-photographs and videos, sketches and scripts, paintings and sculptures made through performance-may seem tame. And presenting such work as indicative of the entire spectrum of performance art may be misleading, but at the same time, performance that operates within the field of the visual arts must always, in one manner or another, grapple with the issue of the art object. Even the pointedly ephemeral work of Tino Sehgal, who insists on leaving no physical traces of his artworks (to the degree that he even refuses to make sketches or take photographic documentation), is still conceived in reaction to the art object. Not only do individual works like Kiss directly quote historical artworks by Courbet, Rodin, and Koons, but Sehgal's entire practice is conceived as a reaction against the impulse-manifested most incisively within the artworld, but applicable to our greater economic reality-to create more things in a world already groaning under the strain of material production.

This tension between the material and the ephemeral is one of the central issues of performance art, played out across the decades to differing effect. At the root of this question is perhaps the desire to de-mystify art and bring it closer to the everyday. This trajectory was not unique to performance: it could be seen in Rauschenberg's Combines, Warhol's Brillo boxes, Kienholz's Back Seat Dodge '38 (1964), and Akasegawa Genpei's 1000-yen and Zero-yen notes, to name but a few of the many works produced contemporaneously with the growth of performance art that made everyday scenes and objects the focal point of artistic inquiry. This interest in the everyday, which seems to have its origins in the late 1950's and early 1960's but continues through today, coincides with the period of high industrialization, commodification and mediatization that has radically shifted our relationship to our physical environment.

It can be argued that we have lost our conceptual connection to our material environment as the process of making has become industrialized, taken far out of our view and produced in quantities that encourage a devaluing of the now readily replaceable object. In the introduction to his recent book The Craftsman, Richard Sennett argues "first, that all skills, even the most abstract, begin as bodily practices; second, that technical understanding develops through the powers of imagination," implying that in order to understand, value and appropriately use the material world around us, we must have a sensitivity borne of making: an intimate knowledge of both the positive and negative potentials of materials. He goes on to say that "History has drawn fault lines dividing practice and theory, technique and expression, craftsman and artist, maker and user; modern society suffers from this historical inheritance," and that it is only by rethinking this relationship that we can learn alternative methods for handling the environmental and social problems borne of this divide.

In her essay for the Out of Actions catalogue, Kristine Stiles sounds a similar note when stating that "objects are not commodities in and of themselves; rather, attitudes about and uses of objects make them so-or do not-in relation to the actions that bring them into being." She argues that we understand objects by the network of associations they imply, from their origins to their physical attributes and their potential uses. In this context, "what is missing from art objects, what artists engaged in action restore to them, is that relationality between making and doing and the artifactuality itself." This definition of the problems of the art object parallels Sennett's explanation of our troubled relationship to the material world, and focuses the problem on building a connection between head and hand, or to put it differently, revealing the process behind the object. Performance, then, resides in shifting focus from object to process, thereby drawing us into a relationship with the making of, and the makers of, our material world. As the social aspect of this relationship is played up, the resulting object may become more obscure-Stiles' example of Abramović and Ulay's bun connecting their tiring bodies in Relation in Time is a prime example of such an obscure object-but objects remain a key component of the conceptualization of performance.

Beyond this issue of the origins of the object, the problem of our relationship to the material, physical world can also be seen through the process of mediatization. With the proliferation of photography, television, and the internet, we have lost a sense of the distinction between first- and second-hand experience. We receive much of our second-hand information through the same perceptual senses with which we experience the world around us. We no longer have to read text or hear a description and imagine a scene-it is given to us as a visual image, even a moving visual image-and so we feel as if we experienced the situation ourselves, rather than merely learned of it.

This problem is essentially the problem of metaphor versus embodiment. Kaprow saw this problem within the field of painting, arguing in his 1966 book Assemblage, Environments, Happenings that "Painting had become a symbol rather than power...something which stood for experience rather than acting directly upon it." His answer was to make the artwork into the experience by constructing immersive environments and designing participatory performances, aka Happenings. This investigation of the art object can even be conceptually expanded to include objects traditionally considered as documentation or inert objects to be performative. Consider Maya Deren's A Study in Choreography for Camera (1945) in which the dancer she films (Talley Beatty) leaps, in a single sequence, through a forest, a living room, the Egyptian Court at the Metropolitan Museum of Art, and finally a panoramic landscape. Deren specifically considered these to be "dances choreographed and performed by the camera and by human beings together." At the heart of these ambiguities, though, remains the essential question of agency, answered by the performative impulse: in Stiles' words, "an art of actions meant that art could be simultaneously representational and presentational, simultaneously claiming the primacy of the body as metaphorical content and as concrete presentational form."

[youtube:http://www.youtube.com/watch?v=eKAOs400ReY]

My own interest in performance stems from these anxieties and ambiguities regarding the physical, material world. I feel that we in contemporary society are on a trajectory for these issues of material production and mediated experience to become ever more acute, and so I find the relation of object and performance to be fertile ground for investigation. It is the tension of the object that can be read as performative in its implied action or trace of former action, as well as the performance that shifts the process of artmaking from the studio to the exhibition space, often implicating the viewer in the process, that I find most compelling as a corrollary to these larger societal issues. In the posts that will follow, I will explore different approaches and issues related to-as well as individual artists concerned with-the performance-object problem, but always in relation to larger concerns of interaction and socialization for, as Elaine Scarry puts it in her study The Body in Pain, "a made object is a projection of the human body."

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Some Thoughts on Performance and Materiality | Art21 Magazine

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In 1998, Paul Schimmel organized what is now considered to be one of the definitive exhibitions on performance art. Out of Actions: Between Performance and the Object was the first major museum survey of performance art, covering practices in the US, Europe and Japan, and opening up the door for a slew of museum exhibitions in more recent years that feature performance.

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04/26/2022 July 2014Art Education 67(4):40-46DOI:10.1080/00043125.2014.11519282Authors:Lisa LaJevic at The College of New JerseyLisa LaJevicThe College of New JerseyMatthew PembletonMatthew Pembleton 

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04/26/2022 July 2014Art Education 67(4):40-46DOI:10.1080/00043125.2014.11519282Authors:Lisa LaJevic at The College of New JerseyLisa LaJevicThe College of New JerseyMatthew PembletonMatthew Pembleton 

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04/26/2022 Simulacra in the Age of Social Media: Baudrillard as the Prophet of Fake News

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04/26/2022 Simulacra in the Age of Social Media: Baudrillard as the Prophet of Fake News

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Fake news is a byproduct of the media's lack of connection to reality. This term has been circulating around quite a bit since Trump became president, and it's due to the amount of false information constantly being spread from anyone and everyone. The country was totally split into two, and fake news played a major role in this. It's gotten so bad that social media platforms like Instagram now have warnings on certain posts saying that what you're viewing might be false. Something as simple as that reminder, that what you're viewing may not be true, totally snaps a person out of this internet realm and encourages media literacy to come out.

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04/19/2022 1. Identify the film’s main argument and / or purpose.The purpose of this film is to highlight the restaurant “Wangs” and how the chef’s life led to the creation of this restaurant.2. Provide a brief summary of the film and the “main characters” in and “plot” of the film.Wang’s is a film highlighting how the restaurant “Wangs” came to be. The owner, Sara Nguyen, is the main character of the film, and the plot of the film is what points of her life led to the development of her restaurant. We are told about her struggles as a restaurant owner in NYC as well as what she loves about it as well.3. Examine how the film’s argument is supported through rhetorical and persuasive strategies (e.g., presentation of facts, dismissing credibility of counterfactual information, not addressing certain related issues, etc.).In the film, we hear feedback from customers at “Wangs” which solidifies the success of this restaurant. We also see clips of the wings being cooked and served which shows the viewer how appetizing the wings look.4.  How does the structure of the film help achieve its purpose?The structure of the film is very chronological which makes it easy to follow. We can clearly understand what led to the creation of this restaurant and how it’s succeeding in current times.5. How valid is the argument? Does the argument contain fallacies, contradictions, or inconsistencies?The purpose of this film goes well with the content within the film. The caption states “How Wang’s came to be” which is exactly what the film presents us with. There is potential for more context about the process of creating the restaurant as well as how the pandemic has affected it, but overall it is very clear.

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04/19/2022 1. Identify the film’s main argument and / or purpose.The purpose of this film is to highlight the restaurant “Wangs” and how the chef’s life led to the creation of this restaurant.2. Provide a brief summary of the film and the “main characters” in and “plot” of the film.Wang’s is a film highlighting how the restaurant “Wangs” came to be. The owner, Sara Nguyen, is the main character of the film, and the plot of the film is what points of her life led to the development of her restaurant. We are told about her struggles as a restaurant owner in NYC as well as what she loves about it as well.3. Examine how the film’s argument is supported through rhetorical and persuasive strategies (e.g., presentation of facts, dismissing credibility of counterfactual information, not addressing certain related issues, etc.).In the film, we hear feedback from customers at “Wangs” which solidifies the success of this restaurant. We also see clips of the wings being cooked and served which shows the viewer how appetizing the wings look.4.  How does the structure of the film help achieve its purpose?The structure of the film is very chronological which makes it easy to follow. We can clearly understand what led to the creation of this restaurant and how it’s succeeding in current times.5. How valid is the argument? Does the argument contain fallacies, contradictions, or inconsistencies?The purpose of this film goes well with the content within the film. The caption states “How Wang’s came to be” which is exactly what the film presents us with. There is potential for more context about the process of creating the restaurant as well as how the pandemic has affected it, but overall it is very clear.

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04/05/2022 Collective Intelligence and Online Learning Communities

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04/05/2022 Collective Intelligence and Online Learning Communities

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There are many informal learning skills that are valuable to students, and can be learning through collective intelligence. Collective intelligence is a way for us to combine our knowledge and work together to learn new skills. Three formal learning skills are task-based learning, practice-based learning and knowledge-based learning. Collective intelligence promote certification, self-assessment and stimulating mutual understanding of technology possibilities and the need of open high quality contents accessible for our nomadic digital society.

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04/05/2022 Appropriation of Digital Competence in  Teacher Education

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04/05/2022 Appropriation of Digital Competence in  Teacher Education

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There is a lot of pushback from teachers on their use of technology. Some teachers are more enthusiastic about new tech than others, but it seems as though training is key to getting teachers to want to learn new tech. This training needs to be done with hands-on activities, rather than just presenting new information without letting teachers practice.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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04/05/2022 The future of news? Virtual reality

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04/05/2022 The future of news? Virtual reality

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In this video, Nonny de la Peña presents a new way to view news: virtual reality. In this video we can see people being thrown into the realities of news, rather than our typical way of viewing. With the amount of news constantly circulating online, many people, including adults and children, are desensitized to really intense news. Virtual reality puts people right in the middle of the action, whether that action is a person having a seizure, or a bomb going off in Syria. VR puts the viewer in two spaces at the same time, and is a really interesting tool to use.

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Nonny de la Peña: The future of news? Virtual reality

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What if you could experience a story with your entire body, not just with your mind? Nonny de la Peña is working on a new form of journalism that combines traditional reporting with emerging virtual reality technology to put the audience inside the story.

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03/29/2022 Using the technology of today, in the classroom today. Eric Klopfer, Scot Osterweil, Jennifer Groff, Jason Haas 

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03/29/2022 Using the technology of today, in the classroom today. Eric Klopfer, Scot Osterweil, Jennifer Groff, Jason Haas 

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"Simply put, these technologies afford us the ability to convey concepts in new ways that would otherwise not be possible, efficient, or effective, with other instructional methods. In other words, these technologies don’t just help us teach the old stuff in new ways – they can also help us teach new stuff in new ways. Below we provide a brief description of these technologies; popular educational and non-educational examples of each, and what researchers and practitioners are finding about their potential and impact on teaching and learning." Technology is a tool that teachers need to incorporate into the classrooms. Learning new ways of teaching is not a bad thing, and students would more than likely be more engaged because of it. In my own K-5 experience, students loved when they got to do research on the iPads in the classroom. They would be much more intrigued than they would if they have to read a book.

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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03/29/2022 Toward a Media Literacy for Games

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03/29/2022 Toward a Media Literacy for Games

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Media literacy doesn't just have to do with social media, but the virtual realities around us as well, including video games. Most of the time, in the classroom, play might be taken out rather than put into the classroom. This leads to many children exploring games in their own time, and becoming more media literate with games than their own teachers. The gap between "traditional" education and the new, media focused education, needs to be removed.

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Arturo Herrera's work includes collage, work on paper, sculpture, relief, wall painting, photography, and felt wall-hangings. Rooted in the history of abstraction, Herrera's playful work taps into the viewer's unconscious, often intertwining fragments of cartoon characters with cut-out shapes and partially obscured images that evoke memory and recollection.

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Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. A nonprofit organization, Art21's mission is to inspire a more creative world through the works and words of contemporary artists.

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03/22/2022 How to Connect Your Students to Contemporary Art

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03/22/2022 How to Connect Your Students to Contemporary Art

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The traditional K-12 art education curriculum is packed full of some of the greatest artists in history. You can find dozens of resources and project ideas inspired by Picasso, Van Gogh, and Monet. Artists like these certainly have earned their place in your curriculum, but it's also important to share contemporary examples with your students. If you are preparing students to create art in today's world, you should also introduce them to today's artists.

Contemporary artists not only provide students with examples of living artists but also reflect current practices and issues your students may be familiar with. This is an excellent opportunity to share with students how they can incorporate their interests and opinions on the world they live in into their works of art.

Add contemporary artists to your curriculum.

You can easily include contemporary artists in your existing curriculum. This does not have to be a complete overhaul of what you have already established. Think about the big ideas and student learning objectives in your current units. A monochromatic lesson focused on Picasso's blue and rose periods can easily incorporate contemporary South African artist, Lisa Brice's work. Likewise, your magazine collage project could include examples from contemporary American artist, Lorna Simpson.

Students interested in graphic design may find artist, Adam Bertels' work inspiring. Bertels works as a graphic designer in the St. Louis area. In addition to designing for local businesses like Strange Donuts, he also created the successful series, Monsters of Rock. Bertels designed letters of the alphabet to depict a different musical artist or band. You could use his work as an example of personification, thematic unity, illustration, and more. This is a great opportunity to develop a class project like a coloring book to be shared in the community or with younger grade levels.

During your printmaking unit, you may throw in contemporary printmakers like Filipina, Kill Choy, or American, Bill Fick. Each of these artists works in linoleum prints but have distinct styles and subject matter. Kill Choy has several prints honoring animals and nature, while Fick's prints depict the strange and grotesque. Both of these artists are sure to spark interest for many of your students. You can design lessons that follow their work or simply show them as references. Point out their use of positive and negative space, composition, and balance. Students can create their own edition of prints with contemporary inspiration in mind!

Developing lesson plans and project ideas featuring living artists is a great way to introduce your students to contemporary art. By providing these examples, you will show students art is not a practice of the past, or simply historical; it's an ever-evolving creative process with a variety of career paths and applications.

For more contemporary art curriculum suggestions, check out the Celebrating Diversity Through Contemporary Art PRO Learning Pack.

Recommend contemporary artists for individual students.

Once your students have a general introduction to contemporary art, you can also make specific suggestions to students who are developing their own artistic style. As you get to know your students and their interests in subject matter, media, and technique, you can refer them to specific contemporary artists they may find appealing. This gives students an individualized connection to contemporary art. You are showing them you notice their artwork and have done a bit of research tailored to them.

This may seem like a daunting task if you have several students you see each day, so this might be a practice you reserve for an art club, an honors art class, or exceptional students. You would probably want to choose a small group of students for these individual recommendations for time management's sake.

More than just sharing the artist's name, you can direct students to the artist's website, social media, and specific works you find that relate to their own art style. Provide students with a short written explanation of why you chose the specific artist for them. It's a thoughtful act that can make a big impact in the lives of your creative students!

If you know a student is interested in environmental issues, you can do some research and find artists who use art to shed light on similar concerns. Contemporary Artist, Zaria Forman, creates large-scale pastel drawings of ice glaciers to bring attention to global warming. By suggesting an artist who shares the same interests and/or concerns as your student, you can create a great learning opportunity.

Encourage independent research.

After demonstrating to students what type of information to collect on contemporary artists, ask them to use your suggestion as a guide. Students may do independent research to find a contemporary artist that interests them and relates to the type of art they wish to create. Once students have done this research, ask them to create an original work inspired by their chosen artist. They may present their findings and final project to the class as an opportunity to introduce more students to a different contemporary artist.

This type of learning can be extremely meaningful as it is student-led and centered around their interests in art media, process, and subject matter. Students learn through research and discovery. They get the first-hand experience of creating artwork like a professional artist and get to share that experience with their peers.

Use this to help guide your students' discovery of contemporary artists.

A student who is interested in painting and photography may select an artist like Alexa Meade to research. The student would write down the artist's website and social media, as well as specific titles of artwork that interests him or her. The best part is to have students write down how they relate to the artist. A student interested in Alexa Meade may write that they like the artist's use of brush strokes or the concept of creating live paintings. Once they have done their research and expressed their interest in writing, they would be able to begin their own project inspired by the artist's work.

Preparing the next generation of artists is one of the best perks of a career in art education. To do so, we need to introduce students to not only the impact and traditions of art history but also the current practices and issues in contemporary art. By researching and discovering new artists, you will also keep your curriculum fresh for your students, as well as your own teaching practice.

How do you introduce students to contemporary art?
Who are some of your favorite contemporary artists to teach?
How do you facilitate student research?

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How to Connect Your Students to Contemporary Art - The Art of Education University

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The traditional K-12 art education curriculum is packed full of some of the greatest artists in history. You can find dozens of resources and project ideas inspired by Picasso, Van Gogh, and Monet. Artists like these certainly have earned their place in your curriculum, but it's also important to share contemporary examples with your students.

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03/22/2022 Art, visual culture, and media education: Promises, problems, and possibilities

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03/22/2022 Art, visual culture, and media education: Promises, problems, and possibilities

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Art, visual culture, and media education: Promises, problems, and possibilities

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03/22/2022 Trespassing towards Relevance Nato Thompson 

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03/22/2022 Trespassing towards Relevance Nato Thompson 

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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03/22/2022 Art that reveals how technology frames reality

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03/22/2022 Art that reveals how technology frames reality

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Artist and engineer, Jiabao Li, talks about technology and reality. The only time many people realize that technology is framing our reality is when we have this "hyper allergy," meaning when we see something that is bothering us or something that we disagree with. We try to cure our allergy by removing those we disagree with to create our wanted reality. This allergy exists on both sides.

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Jiabao Li: Art that reveals how technology frames reality

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In a talk that could change how you see things, designer and artist Jiabao Li introduces her conceptual projects that expose the inherent bias of digital media. From a helmet that makes you "allergic" to the color red to a browser plug-in that filters the internet in an unexpected way, Li's creations uncover how technology mediates the way we perceive reality.

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03/22/2022  Media and society. by Michael O'Shaughnessy

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03/22/2022  Media and society. by Michael O'Shaughnessy

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03/22/2022 Hito Steyerl. Politic of Post-Representation

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03/22/2022 Hito Steyerl. Politic of Post-Representation

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Social media is a part of all of our lives, even if we don't necessarily know why. Social media needs participation, and we are actively giving it the participation it needs everyday. Those that use these platforms participate in shared exhaustion as well. People, including myself, spend hours a day online and it really can be quite exhausting. I can scroll for hours and not realize it, until my eyes are dry and tired, my hands are cramping, and my neck is sore. Social media hasn't just impacted mental health, but physical health as well.

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From the militarization of social media to the corporatization of the art world, Hito Steyerl's writings represent some of the most influential bodies of work in contemporary cultural criticism today. As a documentary filmmaker, she has created multiple works addressing the widespread proliferation of images in contemporary media, deepening her engagement with the technological conditions of globalization. Steyerl's work has been exhibited in numerous solo and group exhibitions including documenta 12, Taipei Biennial 2010, and 7th Shanghai Biennial. She currently teaches New Media Art at Berlin University of the Arts.
Marvin Jordan I'd like to open our dialogue by acknowledging the central theme for which your work is well known - broadly speaking, the socio-technological conditions of visual culture - and move toward specific concepts that underlie your research (representation, identification, the relationship between art and capital, etc). In your essay titled "Is a Museum a Factory?" you describe a kind of 'political economy' of seeing that is structured in contemporary art spaces, and you emphasize that a social imbalance - an exploitation of affective labor - takes place between the projection of cinematic art and its audience. This analysis leads you to coin the term "post-representational" in service of experimenting with new modes of politics and aesthetics. What are the shortcomings of thinking in "representational" terms today, and what can we hope to gain from transitioning to a "post-representational" paradigm of art practices, if we haven't arrived there already?

Hito Steyerl Let me give you one example. A while ago I met an extremely interesting developer in Holland. He was working on smart phone camera technology. A representational mode of thinking photography is: there is something out there and it will be represented by means of optical technology ideally via indexical link. But the technology for the phone camera is quite different. As the lenses are tiny and basically crap, about half of the data captured by the sensor are noise. The trick is to create the algorithm to clean the picture from the noise, or rather to define the picture from within noise. But how does the camera know this? Very simple. It scans all other pictures stored on the phone or on your social media networks and sifts through your contacts. It looks through the pictures you already made, or those that are networked to you and tries to match faces and shapes. In short: it creates the picture based on earlier pictures, on your/its memory. It does not only know what you saw but also what you might like to see based on your previous choices. In other words, it speculates on your preferences and offers an interpretation of data based on affinities to other data. The link to the thing in front of the lens is still there, but there are also links to past pictures that help create the picture. You don't really photograph the present, as the past is woven into it.

The result might be a picture that never existed in reality, but that the phone thinks you might like to see. It is a bet, a gamble, some combination between repeating those things you have already seen and coming up with new versions of these, a mixture of conservatism and fabulation. The paradigm of representation stands to the present condition as traditional lens-based photography does to an algorithmic, networked photography that works with probabilities and bets on inertia. Consequently, it makes seeing unforeseen things more difficult. The noise will increase and random interpretation too. We might think that the phone sees what we want, but actually we will see what the phone thinks it knows about us. A complicated relationship - like a very neurotic marriage. I haven't even mentioned external interference into what your phone is recording. All sorts of applications are able to remotely shut your camera on or off: companies, governments, the military. It could be disabled for whole regions. One could, for example, disable recording functions close to military installations, or conversely, live broadcast whatever you are up to. Similarly, the phone might be programmed to auto-pixellate secret or sexual content. It might be fitted with a so-called dick algorithm to screen out NSFW content or auto-modify pubic hair, stretch or omit bodies, exchange or collage context or insert AR advertisement and pop up windows or live feeds. Now lets apply this shift to the question of representative politics or democracy. The representational paradigm assumes that you vote for someone who will represent you. Thus the interests of the population will be proportionally represented. But current democracies work rather like smartphone photography by algorithmically clearing the noise and boosting some data over other. It is a system in which the unforeseen has a hard time happening because it is not yet in the database. It is about what to define as noise - something Jacques Ranciere has defined as the crucial act in separating political subjects from domestic slaves, women and workers. Now this act is hardwired into technology, but instead of the traditional division of people and rabble, the results are post-representative militias, brands, customer loyalty schemes, open source insurgents and tumblrs.

Additionally, Ranciere's democratic solution: there is no noise, it is all speech. Everyone has to be seen and heard, and has to be realized online as some sort of meta noise in which everyone is monologuing incessantly, and no one is listening. Aesthetically, one might describe this condition as opacity in broad daylight: you could see anything, but what exactly and why is quite unclear. There are a lot of brightly lit glossy surfaces, yet they don't reveal anything but themselves as surface. Whatever there is - it's all there to see but in the form of an incomprehensible, Kafkaesque glossiness, written in extraterrestrial code, perhaps subject to secret legislation. It certainly expresses something: a format, a protocol or executive order, but effectively obfuscates its meaning. This is a far cry from a situation in which something-an image, a person, a notion - stood in for another and presumably acted in its interest. Today it stands in, but its relation to whatever it stands in for is cryptic, shiny, unstable; the link flickers on and off. Art could relish in this shiny instability - it does already. It could also be less baffled and mesmerised and see it as what the gloss mostly is about - the not-so-discreet consumer friendly veneer of new and old oligarchies, and plutotechnocracies.

MJ In your insightful essay, "The Spam of the Earth: Withdrawal from Representation", you extend your critique of representation by focusing on an irreducible excess at the core of image spam, a residue of unattainability, or the "dark matter" of which it's composed. It seems as though an unintelligible horizon circumscribes image spam by image spam itself, a force of un-identifiability, which you detect by saying that it is "an accurate portrayal of what humanity is actually not... a negative image." Do you think this vacuous core of image spam - a distinctly negative property - serves as an adequate ground for a general theory of representation today? How do you see today's visual culture affecting people's behavior toward identification with images?

HS Think of Twitter bots for example. Bots are entities supposed to be mistaken for humans on social media web sites. But they have become formidable political armies too - in brilliant examples of how representative politics have mutated nowadays. Bot armies distort discussion on twitter hashtags by spamming them with advertisement, tourist pictures or whatever. Bot armies have been active in Mexico, Syria, Russia and Turkey, where most political parties, above all the ruling AKP are said to control 18,000 fake twitter accounts using photos of Robbie Williams, Megan Fox and gay porn stars. A recent article revealed that, "in order to appear authentic, the accounts don't just tweet out AKP hashtags; they also quote philosophers such as Thomas Hobbes and movies like PS: I Love You." It is ever more difficult to identify bots - partly because humans are being paid to enter CAPTCHAs on their behalf (1,000 CAPTCHAs equals 50 USD cents). So what is a bot army? And how and whom does it represent if anyone? Who is an AKP bot that wears the face of a gay porn star and quotes Hobbes' Leviathan - extolling the need of transforming the rule of militias into statehood in order to escape the war of everyone against everyone else? Bot armies are a contemporary vox pop, the voice of the people, the voice of what the people are today. It can be a Facebook militia, your low cost personalized mob, your digital mercenaries. Imagine your photo is being used for one of these bots. It is the moment when your picture becomes quite autonomous, active, even militant. Bot armies are celebrity militias, wildly jump cutting between glamour, sectarianism, porn, corruption and Post-Baath Party ideology. Think of the meaning of the word "affirmative action" after twitter bots and like farms! What does it represent?

MJ You have provided a compelling account of the depersonalization of the status of the image: a new process of de-identification that favors materialist participation in the circulation of images today. Within the contemporary technological landscape, you write that "if identification is to go anywhere, it has to be with this material aspect of the image, with the image as thing, not as representation. And then it perhaps ceases to be identification, and instead becomes participation." How does this shift from personal identification to material circulation - that is, to cybernetic participation - affect your notion of representation? If an image is merely "a thing like you and me," does this amount to saying that identity is no more, no less than a .jpeg file?

HS Social media makes the shift from representation to participation very clear: people participate in the launch and life span of images, and indeed their life span, spread and potential is defined by participation. Think of the image not as surface but as all the tiny light impulses running through fiber at any one point in time. Some images will look like deep sea swarms, some like cities from space, some are utter darkness. We could see the energy imparted to images by capital or quantified participation very literally, we could probably measure its popular energy in lumen. By partaking in circulation, people participate in this energy and create it.
What this means is a different question though - by now this type of circulation seems a little like the petting zoo of plutotechnocracies. It's where kids are allowed to make a mess - but just a little one - and if anyone organizes serious dissent, the seemingly anarchic sphere of circulation quickly reveals itself as a pedantic police apparatus aggregating relational metadata. It turns out to be an almost Althusserian ISA (Internet State Apparatus), hardwired behind a surface of ' kawaii' apps and online malls. As to identity, Heartbleed and more deliberate governmental hacking exploits certainly showed that identity goes far beyond a relationship with images: it entails a set of private keys, passwords, etc., that can be expropriated and detourned. More generally, identity is the name of the battlefield over your code - be it genetic, informational, pictorial. It is also an option that might provide protection if you fall beyond any sort of modernist infrastructure. It might offer sustenance, food banks, medical service, where common services either fail or don't exist. If the Hezbollah paradigm is so successful it is because it provides an infrastructure to go with the Twitter handle, and as long as there is no alternative many people need this kind of container for material survival. Huge religious and quasi-religious structures have sprung up in recent decades to take up the tasks abandoned by states, providing protection and survival in a reversal of the move described in Leviathan. Identity happens when the Leviathan falls apart and nothing is left of the commons but a set of policed relational metadata, Emoji and hijacked hashtags. This is the reason why the gay AKP pornstar bots are desperately quoting Hobbes' book: they are already sick of the war of Robbie Williams (Israel Defense Forces) against Robbie Williams (Electronic Syrian Army) against Robbie Williams (PRI/AAP) and are hoping for just any entity to organize day care and affordable dentistry.

But beyond all the portentous vocabulary relating to identity, I believe that a widespread standard of the contemporary condition is exhaustion. The interesting thing about Heartbleed - to come back to one of the current threats to identity (as privacy) - is that it is produced by exhaustion and not effort. It is a bug introduced by open source developers not being paid for something that is used by software giants worldwide. Nor were there apparently enough resources to audit the code in the big corporations that just copy-pasted it into their applications and passed on the bug, fully relying on free volunteer labour to produce their proprietary products. Heartbleed records exhaustion by trying to stay true to an ethics of commonality and exchange that has long since been exploited and privatized. So, that exhaustion found its way back into systems. For many people and for many reasons - and on many levels - identity is just that: shared exhaustion.

MJ This is an opportune moment to address the labor conditions of social media practice in the context of the art space. You write that "an art space is a factory, which is simultaneously a supermarket - a casino and a place of worship whose reproductive work is performed by cleaning ladies and cellphone-video bloggers alike." Incidentally, DIS launched a website called ArtSelfie just over a year ago, which encourages social media users to participate quite literally in "cellphone-video blogging" by aggregating their Instagram #artselfies in a separately integrated web archive. Given our uncanny coincidence, how can we grasp the relationship between social media blogging and the possibility of participatory co-curating on equal terms? Is there an irreconcilable antagonism between exploited affective labor and a genuinely networked art practice? Or can we move beyond - to use a phrase of yours - a museum crowd "struggling between passivity and overstimulation?"

HS I wrote this in relation to something my friend Carles Guerra noticed already around early 2009; big museums like the Tate were actively expanding their online marketing tools, encouraging people to basically build the museum experience for them by sharing, etc. It was clear to us that audience participation on this level was a tool of extraction and outsourcing, following a logic that has turned online consumers into involuntary data providers overall. Like in the previous example - Heartbleed - the paradigm of participation and generous contribution towards a commons tilts quickly into an asymmetrical relation, where only a minority of participants benefits from everyone's input, the digital 1 percent reaping the attention value generated by the 99 percent rest.

Brian Kuan Wood put it very beautifully recently: Love is debt, an economy of love and sharing is what you end up with when left to your own devices. However, an economy based on love ends up being an economy of exhaustion - after all, love is utterly exhausting - of deregulation, extraction and lawlessness. And I don't even want to mention likes, notes and shares, which are the child-friendly, sanitized versions of affect as currency.
All is fair in love and war. It doesn't mean that love isn't true or passionate, but just that love is usually uneven, utterly unfair and asymmetric, just as capital tends to be distributed nowadays. It would be great to have a little bit less love, a little more infrastructure.

MJ Long before Edward Snowden's NSA revelations reshaped our discussions of mass surveillance, you wrote that "social media and cell-phone cameras have created a zone of mutual mass-surveillance, which adds to the ubiquitous urban networks of control," underscoring the voluntary, localized, and bottom-up mutuality intrinsic to contemporary systems of control. You go on to say that "hegemony is increasingly internalized, along with the pressure to conform and perform, as is the pressure to represent and be represented." But now mass government surveillance is common knowledge on a global scale - 'externalized', if you will - while social media representation practices remain as revealing as they were before. Do these recent developments, as well as the lack of change in social media behavior, contradict or reinforce your previous statements? In other words, how do you react to the irony that, in the same year as the unprecedented NSA revelations, "selfie" was deemed word of the year by Oxford Dictionaries?

HS Haha - good question!

Essentially I think it makes sense to compare our moment with the end of the twenties in the Soviet Union, when euphoria about electrification, NEP (New Economic Policy), and montage gives way to bureaucracy, secret directives and paranoia. Today this corresponds to the sheer exhilaration of having a World Wide Web being replaced by the drudgery of corporate apps, waterboarding, and "normcore". I am not trying to say that Stalinism might happen again - this would be plain silly - but trying to acknowledge emerging authoritarian paradigms, some forms of algorithmic consensual governance techniques developed within neoliberal authoritarianism, heavily relying on conformism, "family" values and positive feedback, and backed up by all-out torture and secret legislation if necessary. On the other hand things are also falling apart into uncontrollable love. One also has to remember that people did really love Stalin. People love algorithmic governance too, if it comes with watching unlimited amounts of Game of Thrones. But anyone slightly interested in digital politics and technology is by now acquiring at least basic skills in disappearance and subterfuge.

MJ In "Politics of Art: Contemporary Art and the Transition to Post-Democracy," you point out that the contemporary art industry "sustains itself on the time and energy of unpaid interns and self-exploiting actors on pretty much every level and in almost every function," while maintaining that "we have to face up to the fact that there is no automatically available road to resistance and organization for artistic labor." Bourdieu theorized qualitatively different dynamics in the composition of cultural capital vs. that of economic capital, arguing that the former is constituted by the struggle for distinction, whose value is irreducible to financial compensation. This basically translates to: everyone wants a piece of the art-historical pie, and is willing to go through economic self-humiliation in the process. If striving for distinction is antithetical to solidarity, do you see a possibility of reconciling it with collective political empowerment on behalf of those economically exploited by the contemporary art industry?

HS In Art and Money, William Goetzmann, Luc Renneboog, and Christophe Spaenjers conclude that income inequality correlates to art prices. The bigger the difference between top income and no income, the higher prices are paid for some art works. This means that the art market will benefit not only if less people have more money but also if more people have no money. This also means that increasing the amount of zero incomes is likely, especially under current circumstances, to raise the price of some art works. The poorer many people are (and the richer a few), the better the art market does; the more unpaid interns, the more expensive the art. But the art market itself may be following a similar pattern of inequality, basically creating a divide between the 0,01 percent if not less of artworks that are able to concentrate the bulk of sales and the 99,99 percent rest. There is no short term solution for this feedback loop, except of course not to accept this situation, individually or preferably collectively on all levels of the industry. This also means from the point of view of employers. There is a long term benefit to this, not only to interns and artists but to everyone. Cultural industries, which are too exclusively profit oriented lose their appeal. If you want exciting things to happen you need a bunch of young and inspiring people creating a dynamics by doing risky, messy and confusing things. If they cannot afford to do this, they will do it somewhere else eventually. There needs to be space and resources for experimentation, even failure, otherwise things go stale. If these people move on to more accommodating sectors the art sector will mentally shut down even more and become somewhat North-Korean in its outlook - just like contemporary blockbuster CGI industries. Let me explain: there is a managerial sleekness and awe inspiring military perfection to every pixel in these productions, like in North Korean pixel parades, where thousands of soldiers wave color posters to form ever new pixel patterns. The result is quite something but this something is definitely not inspiring nor exciting. If the art world keeps going down the way of raising art prices via starvation of it's workers - and there is no reason to believe it will not continue to do this - it will become the Disney version of Kim Jong Un's pixel parades. 12K starving interns waving pixels for giant CGI renderings of Marina Abramovic! Imagine the price it will fetch!

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Lauren Boyle, Solomon Chase, Marco Roso, Nick Scholl, David Toro

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Hito Steyerl | Politics of Post-Representation

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From the militarization of social media to the corporatization of the art world, Hito Steyerl's writings represent some of the most influential bodies of work in contemporary cultural criticism today. As a documentary filmmaker, she has created multiple works addressing the widespread proliferation of images in contemporary media, deepening her engagement with the technological conditions of globalization.

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03/08/2022 Education as a Practice of Freedom: Reflections on bell hooks

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03/08/2022 Education as a Practice of Freedom: Reflections on bell hooks

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bell hooks believes there should be a combination of reflection and action when it comes to education, similar to Paulo Freire. Freire says that "instead of learners receiving,  filling and storing deposits made by educators, learners should be allowed to develop praxis, an inventive way of  life that encourages free, creative reflection and thoughtful action in order to change the world, even as the  learners are transformed in the process."

"Hooks concern with the interlacing dynamics of ‘race’, gender, culture and class and her overall orientation to  the whole person and to their well-being when connected with her ability to engage with educational practice in a direct way set her apart from the vast bulk of her contemporaries."

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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03/08/2022 Media Literacy: Key Facts released by the Kaiser Family Foundation

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03/08/2022 Media Literacy: Key Facts released by the Kaiser Family Foundation

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Although there is no national policy for Media Literacy, it is implemented in at least one class - English, Social Studies, Science - in all 50 states in K-12. There are also extra curriculum classes and programs that focus on Media Literacy, but it should not only be taught in school settings. It is important for Media Literacy to be introduced to children from their family. Teaching Media Literacy can help reduce the harmful effects of TV violence on youth, and can help them be more responsible with their decision-making skills. Media Literacy can also help high school girls with their body image and empowerment, and can help reduce unhealthy eating/eating disorders. Media Literacy reduces the use of steroids amongst teenage athletes, as well as the use of drugs, tobacco and alcohol amongst all students. "Media literacy instruction improved students’ reading, viewing and listening comprehension of print, audio and video texts, message analysis and interpretation, and writing skills."

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Key Facts: Media LiteracyThe seventh in a series of fact sheets on topics related to children, media and health pulls together the most relevant research about parents and the media. This fact shee…

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03/08/2022 Interdisciplinary Curriculum and Learning in Higher Education. Karri Holley

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03/08/2022 Interdisciplinary Curriculum and Learning in Higher Education. Karri Holley

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Education is not neutral, and neutral education leads to nobody being held accountable. Capitalism and democracy are not the same thing. Democracy is three things: political rights, personal liberties and economic rights. Democracy recommends and idea that no society is finished, there is always something that needs to be worked on. A discourse of possibility means you can imagine a future very different from the present.

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03/01/2022 The Art Of Immersion Chapter 1

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03/01/2022 The Art Of Immersion Chapter 1

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02/22/2022 12 Basic Ways to Integrate Media Literacy and Critical Thinking into Any Curriculum 

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02/22/2022 12 Basic Ways to Integrate Media Literacy and Critical Thinking into Any Curriculum 

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1: Practice general observation, critical thinking, analysis, perspective-taking, and communication skills, 2: Stimulate interest in a new topic, 3: Identify how students’ prior ideas about a topic have been influenced by media messages, 4: Use media as a standard pedagogical tool, 5: Identifying sources for erroneous beliefs about a topic, 6: Develop an awareness of issues of credibility and perspective, 7: Compare the ways different media present information about a topic, 8: Analyze the effect that specific media have had on a particular issue or topic across different cultures and/or historically, 9: Build and practice specific curricular skills, 10: Facilitate use of a range of media formats to express students’ opinions and illustrate their understanding of the world, 11: Use media as a assessment tools, 12: Connect students to the community and work toward

positive change

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02/22/2022 4 Ways to Integrate Media Literacy in the Classroom

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02/22/2022 4 Ways to Integrate Media Literacy in the Classroom

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There are 4 ways to integrate media literacy in the classroom: .: imagine the profile of a media-literate students, 2. use media literacy to reinforce your existing teaching objectives, 3. work backward from your most sophisticated media-infused teaching plans, 4. as pockets of media-literacy practices build in your school, look to align them vertically.

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With a recent focus on "fake news" and the realization that many of us (adults and kids alike) get our news primarily through social media, the concept of "media literacy" is buzzing. And the #medialiteracy community is responding to this buzz with gusto. Below are a few framing ideas, planning tools, and media-literacy-infused project examples that can help you leverage this momentum, expand media-literacy education in your classrooms, and coordinate a media-literacy program school-wide.

"Media literacy is defined as the ability to access, analyze, evaluate, create, and communicate using information in all forms." -- Common Sense News and Media Literacy Topic Backgrounder

Simply put, media literacy is literacy expanded to include all forms of communication -- whether that's a paperback book or a Twitter chat. Embracing that broader definition of literacy is essential for the development of curricula that can empower students to fully participate in all aspects of life these days. Given that schools vary in their priorities, digital resources, and student and teacher backgrounds, it can be difficult to prescribe a cookie-cutter approach to school-wide media-literacy integration that works for all. The good news is that this reality allows us to develop unique pathways to student media literacy within K-12 schools. These pathways all stem from teacher passion, student need, and school philosophy.

Finding a Path to Media Literacy

As you consider how to integrate critical media analysis into your teaching, try this four-step approach.

1. Imagine the profile of a media-literate student.

Outline a simple target profile of a student who is empowered with adaptable and flexible modern literacy skills. Work backward from the objective you have in mind. (See example to the right.)

2. Use media literacy to reinforce your existing teaching objectives.

Media literacy doesn't need to be a separate subject -- instead, it can be layered on to support your current curriculum. Chances are you have ideas for a media-infused project or two, or for routine classroom activities that use computers or tablets. Think about how, with a little mindfulness of media-literacy concepts, those practices could help move students toward the target profile while also adding a new dimension to your core curriculum.

3. Work backward from your most sophisticated media-infused teaching plans.

It's challenging to have students learn a new tool while also thinking critically about the subject matter. To set up students for success, build in time for them to acquire new digital skills and to familiarize themselves with new tools, content, and concepts before putting it all together.

For example, your idea may be to have kids do a close reading of news media video clips and add annotations using Screencastify. The objective may be for students to demonstrate their understanding of the content and identify any bias in the way the content was presented. However, in addition to core content skills, students need time to play with the features of the new tech tools and read up on key questions for analyzing media before they can put it all together.

4. As pockets of media-literacy practices build in your school, look to align them vertically.

Once media literacy is authentically taking hold in pockets around your school, use a curriculum planning template (see The Media Spot's Media Literacy Scope and Sequence Template) to ensure that across and within each grade level, you're incorporating digital skills and media-literacy concepts that build cohesively toward the media-literacy profile you have envisioned for your students.

Examples from K-12 Teacher Plans and Student Work

Here are some examples of K-12 projects with notes on how they emphasize media literacy alongside their core curricular goals on the path toward a media-literacy profile.

Tiny Bop Robot Factory provides open-ended exploration and play that can lead to learning about engineering design.

Curriculum Enhancement: This project supports generating content for poems and sparking creativity and engagement.

Media-Literacy Focus: Students learn adaptable digital production skills connected to literacy fundamentals. They explore and build with an app, connect details in an image to generate text, and introduce elements of poetry.

Takeaways: The backward plan from this project includes responsible use of classroom media, introduction to motor skills for operating the iPad, routines for working together, and basic operations through center time using academic apps.

Whole-class Padlet walls create stories of American history decade by decade using found news, commercials, political ads, and movies.

Curriculum Enhancement: This project supports inquiry-driven historical research.

Digital Skills: Students learn to find and embed media artifacts in a shared online space as they create screencast tours of the decades.

Media-Literacy Focus: Students learn how media messages affect the ways people see the real world as well as how they see themselves.

Takeaways: Digital skills are in place, and students are analyzing the relationship between new and traditional media texts. They are also mindfully producing their own artifacts and reflecting on media bias, personal bias, and audience response.

ELA students write a persuasive essay, then adapt it into documentary videos to express their perspective on community policing. Screening the videos for police at a town hall can begin a face-to-face dialogue.

Curriculum Enhancement: This project help students convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

Digital Skills: Students learn to produce videos using iMovie, accessing found video and images connected to text.

Media-Literacy Focus: Students learn how when translating their writing into video format, their image choices can change the message. What lifestyles, values, and points of view are represented? How might different audiences read our messages differently?

Takeaways: Adding specific images of police to student writing added significant meaning that triggered student and police audience members differently. Students had rich discussions around their media choices.

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4 Ways to Integrate Media Literacy in the Classroom | Common Sense Education

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With a recent focus on "fake news" and the realization that many of us (adults and kids alike) get our news primarily through social media, the concept of "media literacy" is buzzing. And the #medialiteracy community is responding to this buzz with gusto.

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02/22/2022 Teaching Media Literacy: Its Importance and 10 Engaging Activities

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02/22/2022 Teaching Media Literacy: Its Importance and 10 Engaging Activities

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There are many benefits to teaching media literacy, such as teaching them to recognize point-of-view, improve critical thinking skills, learn how to create different products, breathe relevancy into different subjects, link existing content with students interests.

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Teaching Media Literacy - Importance + Activities | Prodigy

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Want engaging activities to effectively teach media literacy? Here are 10, plus a discussion of media literacy's importance.

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02/08/2022 Manufacturing consent. Noam Chomsky. Introduction

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02/08/2022 Manufacturing consent. Noam Chomsky. Introduction

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02/08/2022 Pedagogy of the Event. Dennis Atkinson

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02/08/2022 Pedagogy of the Event. Dennis Atkinson

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When students take risks, teachers take them as well, and taking risks is a way for students to learn how important the process of making is, as opposed to the end products. "Letting things happen" is something that needs to be included into the curriculum more, even though the educator may not be able to predict the result. This can lead to a lot of learning for both the educator and the student.

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02/08/2022 The Promises, Challenges and Futures of Media Literacy. Monica Bulger and Patrick Davison

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02/08/2022 The Promises, Challenges and Futures of Media Literacy. Monica Bulger and Patrick Davison

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During the election, 2/3 Americans relied on social media for their news. This led to a lot of "fake news" across the internet. There is good information out there, but it takes the right set of skills to pick it out. Media literacy is needed in order to avoid false information. In order to teach media literacy, we need youth participation, teacher training and curricular resources, parental support, and media literacy policy initiatives. Media literacy can fail by focusing too much on personal responsibility, and suffers from incoherent expectations.

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Abstract

Media literacy has become a center of gravity for countering fake news, and a diverse array of stakeholders - from educators to legislators, philanthropists to technologists - have pushed significant resources toward media literacy programs. Media literacy, however, cannot be treated as a panacea. This paper provides a foundation for evaluating media literacy efforts and contextualizing them relative to the current media landscape. Media literacy is traditionally conceived as a process or set of skills based on critical thinking. It has a long history of development aligned along the dialectic between protection and participation. Contemporary media literacy tends to organize around five themes: youth participation, teacher training and curricular resources, parental support, policy initiatives, and evidence base construction. Programs like these have demonstrated positive outcomes, particularly in the case of rapid responses to breaking news events, connecting critical thinking with behavior change, and evaluating partisan content.However, media literacy programs also have their challenges. In general, there is a lack of comprehensive evaluation data of media literacy efforts. Some research shows that media literacy efforts can have little-to-no impact for certain materials, or even produce harmful conditions of overconfidence. The longitudinal nature of both assessing and updating media literacy programs makes this a perennial struggle. Because of these challenges, we make recommendations for future work in the field.

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The Promises, Challenges, and Futures of Media Literacy

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Media literacy has become a center of gravity for countering fake news, and a diverse array of stakeholders - from educators to legislators, philanthropists to technologists - have pushed significant resources toward media literacy programs. Media literacy, however, cannot be treated as a panacea.

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02/08/2022 Creating critical thinkers through media literacy: Andrea Quijada at TEDxABQED

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02/08/2022 Creating critical thinkers through media literacy: Andrea Quijada at TEDxABQED

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"Media could be decoded." There is a way to deconstruct media, it's critical that young people have deconstruction questions in their head. The subtext is what we don't see: aka our own interpretation. They can think: who is this media for? Once students know how to deconstruct media, they can see through ads. sitcoms, etc. Media literacy can be used everyday.

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Creating critical thinkers through media literacy: Andrea Quijada at TEDxABQED

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02/01/2022 Introduction to Visual Culture. Nicholas Mirzoeff 

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02/01/2022 Introduction to Visual Culture. Nicholas Mirzoeff 

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02/01/2022 Confronting the Challenges of Participatory Culture: Media Education for the 21th Century. 

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02/01/2022 Confronting the Challenges of Participatory Culture: Media Education for the 21th Century. 

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Affinity spaces vs. educational spaces. Students learn better in affinity spaces, but are still placed in typical educational spaces.

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"The human eye can only be in one place at a time." A camera can be looked at as a mechanical eye, but a camera also only shows what the holder wants it to show us. The camera has made images less unique. The most famous artworks are in a million different places rather than belonging in their own space. The original meanings of paintings are being manipulated as they're being replicated and changed. Something as simple as cropping and image completely changes meaning as well.