A/Live: Synchronicity in Art and Online Teaching

This paper argues for the ongoing importance of synchronicity as a mode of engagement within the creative arts and applies this thinking to the delivery of art education online. Despite the fact synchronous teaching online can be challenging, it is vital that educators continue to model durational a...

Full description

Bibliographic Details
Main Author: Katie Lee
Format: Conference Object
Language:unknown
Published: 2021
Subjects:
Online Access:http://hdl.handle.net/10536/DRO/DU:30158214
https://figshare.com/articles/conference_contribution/A_Live_Synchronicity_in_Art_and_Online_Teaching/20639556
id ftdeakinunifig:oai:figshare.com:article/20639556
record_format openpolar
spelling ftdeakinunifig:oai:figshare.com:article/20639556 2023-05-15T16:16:52+02:00 A/Live: Synchronicity in Art and Online Teaching Katie Lee 2021-10-29T00:00:00Z http://hdl.handle.net/10536/DRO/DU:30158214 https://figshare.com/articles/conference_contribution/A_Live_Synchronicity_in_Art_and_Online_Teaching/20639556 unknown http://hdl.handle.net/10536/DRO/DU:30158214 https://figshare.com/articles/conference_contribution/A_Live_Synchronicity_in_Art_and_Online_Teaching/20639556 All Rights Reserved Uncategorized Sychronous Learning Online Education Zoom Fatigue Pedagodgy Arts Education Live Art Perception Text Conference contribution 2021 ftdeakinunifig 2022-11-17T18:27:46Z This paper argues for the ongoing importance of synchronicity as a mode of engagement within the creative arts and applies this thinking to the delivery of art education online. Despite the fact synchronous teaching online can be challenging, it is vital that educators continue to model durational aspects of process-based artmaking in the classroom and encourage practice-based research methods that value ‘not knowing’ and experimentation over ‘finished products’. I will show how my practice-based research addresses these ideas through strategies such as live webcams, live performances in galleries, and live radio playing within sculptural installations. These methods of practice continue my research interest in the way humans habitually perceive the world in abstract terms (Whitehead 1939), easily divorcing processes from final products (Ingold 2010) and considering the world around us to consist of stable and durable objects (Harman 2011). This perceptual habit is both physiological, psychological and cultural, and challenging this enduring mode of perception is as important to the task of de-colonising our curriculum, as it is to taking better care of our planet. In my paper I will use the work of post-human, ecological writers and thinkers including Tim Ingold and Graham Harman, along with perspectives from First Nations artist and academic Professor Liz Cameron and Professor Brian Martin, to show how artworks and creative practices do not necessarily produce objects for display, but are reciprocal processes occurring in real time, and that modelling this in the classroom is as important as the resulting artwork. Conference Object First Nations DRO - Deakin Research Online
institution Open Polar
collection DRO - Deakin Research Online
op_collection_id ftdeakinunifig
language unknown
topic Uncategorized
Sychronous Learning
Online Education
Zoom Fatigue
Pedagodgy
Arts Education
Live Art
Perception
spellingShingle Uncategorized
Sychronous Learning
Online Education
Zoom Fatigue
Pedagodgy
Arts Education
Live Art
Perception
Katie Lee
A/Live: Synchronicity in Art and Online Teaching
topic_facet Uncategorized
Sychronous Learning
Online Education
Zoom Fatigue
Pedagodgy
Arts Education
Live Art
Perception
description This paper argues for the ongoing importance of synchronicity as a mode of engagement within the creative arts and applies this thinking to the delivery of art education online. Despite the fact synchronous teaching online can be challenging, it is vital that educators continue to model durational aspects of process-based artmaking in the classroom and encourage practice-based research methods that value ‘not knowing’ and experimentation over ‘finished products’. I will show how my practice-based research addresses these ideas through strategies such as live webcams, live performances in galleries, and live radio playing within sculptural installations. These methods of practice continue my research interest in the way humans habitually perceive the world in abstract terms (Whitehead 1939), easily divorcing processes from final products (Ingold 2010) and considering the world around us to consist of stable and durable objects (Harman 2011). This perceptual habit is both physiological, psychological and cultural, and challenging this enduring mode of perception is as important to the task of de-colonising our curriculum, as it is to taking better care of our planet. In my paper I will use the work of post-human, ecological writers and thinkers including Tim Ingold and Graham Harman, along with perspectives from First Nations artist and academic Professor Liz Cameron and Professor Brian Martin, to show how artworks and creative practices do not necessarily produce objects for display, but are reciprocal processes occurring in real time, and that modelling this in the classroom is as important as the resulting artwork.
format Conference Object
author Katie Lee
author_facet Katie Lee
author_sort Katie Lee
title A/Live: Synchronicity in Art and Online Teaching
title_short A/Live: Synchronicity in Art and Online Teaching
title_full A/Live: Synchronicity in Art and Online Teaching
title_fullStr A/Live: Synchronicity in Art and Online Teaching
title_full_unstemmed A/Live: Synchronicity in Art and Online Teaching
title_sort a/live: synchronicity in art and online teaching
publishDate 2021
url http://hdl.handle.net/10536/DRO/DU:30158214
https://figshare.com/articles/conference_contribution/A_Live_Synchronicity_in_Art_and_Online_Teaching/20639556
genre First Nations
genre_facet First Nations
op_relation http://hdl.handle.net/10536/DRO/DU:30158214
https://figshare.com/articles/conference_contribution/A_Live_Synchronicity_in_Art_and_Online_Teaching/20639556
op_rights All Rights Reserved
_version_ 1766002715373076480