Harrison, Dew (CHArt (Computers and the History of Art), 2005)
The paper explores the activity of archiving within the field of fine art and museum studies with particular emphasis on the digital archive and new media database. Harrison identifies and develops new forms of digital archiving within curatorial projects, art-based collaborations, and Conceptual Art works. These archival forms are not constructed by information scientists or museum professionals, but by artists.
Holland, Brian; Holland, Lynda; Davies, Jenny (University of Wolverhampton, 2004)
This project set out to investigate if the technique of mind mapping could be used to improve the study and planning skills of second year Digital Media students from the School of Art and Design (SAD) and first year students on the History of Computing module from the School of Computing and Information Technology (SCIT). Both sets of students were shown how mind mapping could be used to plan the different types of work that they needed to undertake for their modules. MindManager software was installed in selected computer labs and the students were given tuition on how to use the software.
This article discusses current issues around the provision of music technology in British universities. The discussion is based on the most current results from the project ‘Betweening’, funded by Palatine (Higher Education Academy). The aim of the project was to explore the educational landscape of music technology in HE and to provide an oversight of the different models used. The way a particular discipline – music technology – becomes established and how it evolves has as much to do with institutional and governmental politics, social constructs and pedagogical methodologies, as it does with the discipline itself. As well as an overview of the findings from quantitative studies (published in detail in Boehm 2006), this article discusses the findings from the qualitative information gathered from the Betweening project in order to provide an overview of the educational landscape of music technology in higher education in Britain today.
This book looks at the dialectical relationship between skill and deskilling in art after the ‘readymade.’ Focusing on Marcel Duchamp in the first half of the book it challenges the idea that the readymade constitutes an act of anti-art nihilism or is a simple stylistic turn. On the contrary the use of the readymade represents the basis for the transformation of art’s relationship with what Roberts calls “general social technique” (the relationship between art’s place in the social and division of labour and technological transformation).
This essay provides an analysis of the role of design in contemporary life and its ability to influence the everyday – in essence its cultural role. The essay takes the contentious position that it is the semantic framework of ‘problem solving’ which is the bedrock of design and the semantic key to designers’ belief that they are in a position to change society. Davies proposes a better understanding of design would be gained through closer examination on the role of ‘process’ in understanding designs cultural role/inscriptions. The full text is available at the link above.
Spencer, Steve; Cooper, Steve (University of Wolverhampton, 2007)
Over a number of years there have been research projects in the Higher Education Sector of the UK and elsewhere exploring the use of mobile computers - PDAs for curriculum materials, communication with students etc. A significant drawback with these undertakings was the high cost and limited ownership of PDAs among students – such that it was necessary to obtain funding that would enable research teams to provide students with a PDA - usually as a short-term loan, in order to facilitate the projects. Other issues of file size, formats and file compatibility continue to restrict the reach of these developments. With the launch of MP3 players and their appearance on campus in large numbers, an opportunity presented itself to revisit the use of audio files for curriculum delivery. Audio-visual materials have a long history of incorporation into course content and it is possible to find tape archives and video footage of lecturers who have experimented with these formats. It is clear, however, that there is at present a renewed interest and level of activity in the development and delivery of teaching materials through multimedia techniques.
We introduce and describe a new conceptual framework for the design and analysis of audio for immersive first-person shooter games, and discuss its potential implications for the development of the audio component of game engines. The framework was created in order to illustrate and acknowledge the direct role of in-game audio in shaping player-player interactions and in creating a sense of immersion in the game world. Furthermore, it is argued that the relationship between player and sound is best conceptualized theoretically as an acoustic ecology. Current game engines are capable of game world spatiality through acoustic shading, but the ideas presented here provide a framework to explore other immersive possibilities for game audio through real-time synthesis.
Niedderer, Kristina (Gothenburg, Sweden: IASPIS/Craft in Dialogue, 2007)
Niedderer’s chapter builds on her previous research, which was concerned with transforming the current understanding of function in design from a factor of constraint into a factor that can enable creativity, and applies it to contemporary craft practice. Niedderer argues that the crafts are particularly suited to explore the proposed new understanding of function. It benefits from doing so because this new idea of function transcends the visual, allowing for meaning to accrue through haptic and somatic (physical) experience of the object resulting in a concept of ‘expressive function’ which is itself arrived at through convivial human interaction rather than through solitary analysis.
Concerns the synthesis of new media art theory, digital technology and conceptual art in practice-based research. Harrison questions the validity of (and offers alternatives to) lens and screen-based media as the basis for teaching digital media theory to new practitioners.
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