Softwarové umění jako alternativní přístup k reflexi a užití digitálních médií ve výuce výtvarné výchovy
| Title in English | Software art as an alternative approach to the reflection and using of digital media in art education |
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| Authors | |
| Year of publication | 2018 |
| Type | Article in Periodical |
| Magazine / Source | Kultura, umění a výchova |
| MU Faculty or unit | |
| Citation | |
| Web | http://www.kuv.upol.cz/index.php?seo_url=aktualni-cislo&casopis=16&clanek=187 |
| Keywords | software art; education; ideology; glitch; dysfunction; Actor-network-theory; creativity; programming |
| Description | The software has become a phenomenon that penetrates all spheres of contemporary life whether it is an area of work, fun or everyday life. Software and digital technologies play a significant role in art education because it significantly affects ways of creation, distribution, and reception of artworks. Moreover, software through its functions and operations of program code brings to a classroom set of preconditions, ideas and ideologies and its reception is usually connected with assumptions. Unfortunately, this specific position of software in art education wasn’t reflected enough. Software in art education is rather viewed as something self-evident, unproblematic and transparent and it plays the role of useful tool that is usually connected with some uncritical enthusiasm in the sense of automatical enrichment of teaching methods and their modernization. It is one of the global narratives, which to a large extent determines dominant ways of reflection and using of digital technologies in art education, although it omits a critical consideration of program code, an inventive praxis of writing program code or issues of digital glitch, dysfunction, and inefficiency. In this text, I use the concept of global narrative in the sense of a particular set of theoretical texts, and utterances, which construct a specific narrative regarding of software in the context of art education. In last time we can see efforts of several theorists of art education to develop alternative critical reflections of software. They describe software as an autonomous agent in the art classroom, which is seen as a complex network of machine and human actors and accent active role of software in the teaching process or they draw attention to the creative potential of decentralization, glitch, and dysfunction in art education. Thus, we are facing two increasingly important questions now. How to describe invisible actions of software – its influence on the creation of art, creative potential and ideological effects – to students of art education? And how to challenge and innovate the existing global narrative about digital technologies in art education? |
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