Archive for the ‘Publications’ Category

TACCLE 3 – Coding Project @ Zenodo

Monday, December 19th, 2016

TACCLE 3 coding Logo

Please find here the Zenodo Community of “TACCLE3 coding” track on “computational thinking in pre-university education” of the TEEM 2016 conference including all TEEM 2016 papers and presentations related to it, curated by Prof. Dr. Francisco José García Peñalvo, Director del Grupo GRIA, University of Salamanca

International Journal of Art, Culture and Design Technologies (IJACDT)

Wednesday, November 9th, 2011


For those of you interested in smart textile and low cost wearables as an artistic context to engage young women in technology and engineering in education, feel free to check the International Journal of Art, Culture and Design Technologies (IJACDT), ISSUE ON CREATIVITY, INNOVATION AND TECHNOLOGIES CULTURES edited by Gianluca Mura (2011), p. 12-21. You can access the abstract here, or view a sample PDF here. The Guest Editorial Preface by Gianluca Mura, Politecnico di Milano University, Italy can be accessed here. You might as well like to refer the Journal (IJACDT) to a Librarian via this link.

The International Journal of Art, Culture and Design Technologies (IJACDT) links art, design, science, and culture with emerging technologies. IJACDT provides a forum for exchanging ideas and findings from researchers across the design, arts, and technology disciplines. This journal covers theoretical and practice experiences among industrial design fields, architecture, art, computer science, psychology, cognitive sciences, humanities, cultural heritage, and related fields. IJACDT presents different arguments within project culture from the historical, critical, philosophical, rhetorical, creative, pedagogic, and professional points of view.”


New e-books@MIT Press

Friday, August 7th, 2009


I just came across some new e-books available for download @MIT Press and thought to share the sources with students and colleagues.  You might know the White Paper version , we used it during the last semesters. However, here is the e-book:

Confronting the Challenges of Participatory Culture, Media Education for the 21st Century by Henry Jenkins :

”Shifting the conversation about the “digital divide” from questions of technological access to questions about opportunities for being involved in participatory culture and acquiring the necessary skills.”

The  Future of Learning Institutions in the Digital Age by Cathy N. Davidson and David Theo Goldberg:

“Cathy Davidson and David Theo Goldberg focus on the potential for shared and interactive learning made possible by the Internet.”


Living and Learning with New Media – Summary of Findings from the Digital Youth Project, by Mizuko Ito, Heather A. Horst, Matteo Bittanti, danah boyd, Becky Herr-Stephenson, Patricia G. Lange, C. J. Pascoe and Laura Robinson:

“This report summarizes the results of an ambitious three-year ethnographic study, funded by the John D. and Catherine T. MacArthur Foundation, into how young people are living and learning with new media in varied settings—at home, in after school programs, and in online spaces. It offers a condensed version of a longer treatment provided in the book Hanging Out, Messing Around, and Geeking Out (MIT Press, 2009). The authors present empirical data on new media in the lives of American youth in order to reflect upon the relationship between new media and learning. In one of the largest qualitative and ethnographic studies of American youth culture, the authors view the relationship of youth and new media not simply in terms of technology trends but situated within the broader structural conditions of childhood and the negotiations with adults that frame the experience of youth in the United States. The book that this report summarizes was written as a collaborative effort by members of the Digital Youth Project, a three-year research effort funded by the John D. and Catherine T. MacArthur Foundation and conducted at the University of California, Berkeley, and the University of Southern California.”


Autobiography in the arts

Wednesday, February 14th, 2007

Kuenste des Selbst image

“Buehnen des Selbst. Zur Autobiographie in den Kuensten des 20. und 21. Jahrhundert” is a new publication of the Gestalt & Diskurs-series at the Muthesius Academy of Art, Design and Architecture, edited by Theresa Georgen & Carola Muysers. (Muthesius-Hochschule Kiel 2006: Gestalt und Diskurs Bd. 5, ISBN 3-9808798-6-0 (German) . According to Misch, the autobiography is defined as a description (graphie) of life (bios) of an individual through her/himself (auto). Representatives of the visual arts, architecture as well as literature and film, such as Wladimir Majakowskij, Erich Mendelsohn, Dorothea Tanning, Niki de St. Phalle, Sigmar Polke, Agnes Varda, Judy Chicago, Anselm Kiefer, Lynn Hershman, Diether Roth, David Hockney, Keith Haring und Tracy Emin are discussed as so called “autobiographic professionals/experts”. A review (in German language) can be found here on the

I blog this because I am interested in perceiving life as a story, and a driver for developing artistic concepts and shaping processes. Writing, storytelling as well as the narrative in a more general sense constitute basic means for cross-disciplinary aesthetic processes with interactive systems. (An interesting example in this interdisciplinary context bringing together arts, design, textile and digital media is the work by Xiao Li Tan based on the thesis entitled
“Storytelling Wearables, an Alternative Autobiographie” on which I already reported last year.)

Amongst other authors, Cornelia Sollfrank, hacker, net and concept artist who invented female extension as well as the famous net art generator and who is a founder of the Old Boys Network discusses about “the impossible possibility” to write down one’s life (“I’ll be my mirrow”) with the curator Ute Vorkoeper. Renate Berger addresses the “navigation of the sea of life” related to gender issues in (auto)biographies.
Biography is big issue in German arts education and was introduced as an overall didactic concept for arts education (see the book Beruehrungen und Verpflechtungen edited by Manfred Blohm). However, Buehnen des Selbst brings together a variety of examples of artists and intends to look at the diverse media-based tendencies of the so called “autobiography of art” (Kunst-Autobiographie).


Sunday, February 4th, 2007


Just back from transmediale (I will come back to it later when I am back) where the new book developed in the framework of the conference proceedings of the 1st Media Art Conference held in Osnabrück in May 2006. It is called “Image problem? Media Art and Performance within the current picture/image-discussion”, edited by Slavko Kacunko, professor of modern art history (Kunstgeschichte der Moderne) at the University of Osnabrück and Dawn Leach,Düsseldorf, was available.

Slavko Kacunko, Dawn Leach (eds.)

Media Art and Performance within the current picture/image-discussion

Logos-Verlag, Berlin 2007
ISBN: 978_3-8325-1473-0

Language: English, German

“The present volume focuses the discussion of the time- and action-based arts seen before the backdrop of a general concept of the pictorial. The contributions also throw a light rich in contrast when the entirety of the picture science debate spreads before our view. Their mixture of perspectives and discursive affiliations provide current readings for this area of scholarly study.

The majority of the contributions collected in this volume originated in May 2006 at a conference of the Department of Culture and Geo-Sciences of the University of Osnabrück, Germany, that was devoted to questions of performance and media art within the context of the current discussion of the picture
/image science. The conference was an attempt to alleviate the suppression of media arts� practice, theory, and history from university contexts and brought together competent media experts, junior research staff and the interested public.

The present collection of texts begins with Dawn Leach’s brief discussion of the image and text issue, image diff erences, and systematisation attempts. Special attention is paid to the notion of picture anthropology and the age old image of man question, as currency in the German debates. This sets the
stage for some comparisons between North American and German efforts in this field and is rounded off with brief mention of new evolving agendas as well as concluding remarks concerning possible changes in academic fields at university level.

Slavko Kacunko devotes his essay to a generation of 1947 born �prophets� and �slanderers of prophets� that will be sixty come 2007. A characterisation of this generation, which here is called the Generation of
Eighty-three furnishes the pretext for historicizing �prophecy� in the age of its topicality. The focal point of his characterisation is the programmatic text published in the biopolitical year of birth of the Eighty-three-ers, Peter Sloterdijk’s Kritik der zynischen Vernunft (1983; in English as Critique of Cynical Reason [Minnesota, 1988]), flanked by the postdoctoral thesis Beat Wyss completed in 1983, Trauer der Vollendung ( (Hegel’s Art History and the Critique of Modernity, Res Monographs in Anthropology and Aesthetics series, Cambridge [UK] and New York, 1999) and, again dating from 1983, Hans Belting�s inaugural lecture in Munich on the end of art history.
The current image-theory debate is interpreted as one of the by-products of the “83 ideology” an outlook formed out of the criticism that raged against the generation of 68 and which is proving increasingly to be a stumbling block on the onerous path toward a fi tting scholarly treatment of more recent developments in art and the media.

Lena Bader reminds us of the dual function of photography at the inception of art historical study as both subject and medium with a view to defusing polemic tendencies to either postulate continuity at the expense of iconic differences, or to stylise historiographic shi s into a complete rupture with the past. Her new /old instrument of choice is the comparative analysis, which she believes can accommodate both consideration of pictoriality and mediality.

Katja Hoffmann is critical of historical efforts aimed at an “all-inclusiveconcept”
since it produces generalities at the expense of diff erences. She does place symbolic actions at the core of her exemplifi cation, but hopes to show by means of memory and context how the interpretive approach can produce more than levelling results.

Verena Kuni’s agenda is diff erent from Lena Bader’s and Katja Hoffmann’s since her specialist concern with web based art prompts her to a differentiated account of the state of disrepair in documenting her subject and already foresees the detrimental eff ects on future historical treatment.The context of the web, she argues, is a complex one that can only be insufficiently emulated. Kuni sees the reflexive reenactments of several artists as a possibility for sharing creative eff orts that would otherwise be
totally lost.

Marga van Mechelen’s project relates the fi rst directorship of De Appel (1975-1983) to the question “Is the medium still a condition of art?” Van Mechelen shows that the idea of the essential qualities of a medium and the many forms of artistic production more properly placed within Rosalind Krauss’ idea of the post-medium condition were realised within the framework of De Appel. She argues, that the De Appel programme went far beyond the medium condition and explains this paradox by discussing
some of the better known projects that were realized in this framework.

Petra Missomelius is concerned with narration in the spatial organization of digital environments. She brings a “topological turn” into play. The concept of narrative works introduced into participatory aesthetics offers the active viewer new modes of comprehending the spatial. She argues that our spacio-temporal experience of the architectonics of contact, the active negotiation of possible and actual space can be read as narrative structuring. Social interaction in “third spaces” (Bhabha 1994), she says, engages imaginary faculties, facilitates new, tentative, alternating identities, and creates hybrid cultural communities.

The storytelling and prototype development in interactive systems which Daniela Reimann is involved in as interdisciplinary didactic researcher represents a shift from Missomelius’ perspective. Not only conceived as teaching instrument, these practice oriented co-operations are equally instructive for teachers, specifically art instructors. Performative aspects and robotic systems stimulate different links to the spatio-temporal experience that instil imaginative outlets and make fit for creative output in a new

“In Between” is an excellent example for Gabriele Schmid’s critical observations concerning the short reach of aesthetic reception theory when faced with the holographic experience. Her arguments go beyond the specifi c example, but are strongly supported by its force. The noncontemplative, embodied reception is of course argued in all forms of digital based art defence, but the holographic medium has received far too little attention and is worthy of far more attention as Schmid cogently argues.

With Jens Schröter’s contribution we are invited to rethink our scopic regimes and he has good grounds to argue his transplanar perspective. Like Schmid he invites us to reconsider our discursive eff orts on an individual work: Marcel Duchamp�s TU M�. But his reconsideration proves that our blind spot has implications. He identifi es three types of transplanar images: 1. the stereoscopic, 2. the holographic, 3. the virtual interactive i.e. volumetric images. The �third spaces� that Missomelius introduces turn into a scientific re-evaluation of our scopic regimes with the purport of new genealogies that Spielmann wishes us to recognize in the differences between the media of moving images.

Yvonne Spielmann’s insistence here on medium specifi ty, grounded as it is in technical diff erences, prompts her to argue that these considerations must preace and inform any interdisciplinary approach to visuality. Even if we agree with Mitchell’s verdict that strictly speaking there are no visual media, since our perception encompasses more than the visual, we can not ignore, says Spielmann, research into the structuring of multi-sensory reception of multimedia artefacts. She offers an exemplary taxonomy of the filmic, videographic and digital forms of presentation meant to contribute to intermedia investigation of the refl exive participation of the recipient. The contribution of media studies, in her view, would entail employing cultural semiotic tools in media historical comparisons.

The fact that our guests from Poland (Prof. Dr. Ryszard Kluszczynski und Dr. Maciej Ozog) made no reference to picture science debates (which is why their texts are unfortunately not included) made clear, that the general discussion revolving around a picture science, is first and foremost of relevance for German speakers. Not the least reason to prompt seven of the eleven authors to choose to write in English with a view to generating more scholarly exchange bearing on these issues.”

via medienkunstdatenbank

Young Digital Creators Educator’s Kit

Thursday, August 24th, 2006


Here is the information from Doyan Lee, co-ordinator of UNESCO Digi Arts about their new publication, the Young Digital Creators Educator’s Kit, which is available on CD ROM and
which can also be downloaded in English and French language on

“The UNESCO YDC Educator’s Kit is designed to help teachers and educators
working in schools, youth clubs, community centres, and training institutes to generate and manage project-based learning activities with young people. The focus is on the creative use of information and communication technologies, global challenges of development, cultural
diversity and inter-cultural dialogue.
The first part of the Kit explains some basic concepts of the initiative. The second part of the Kit introduces a detailed lesson plan with a number of learning activities. Furthermore the book comes with a CD-ROM that contains a selection on Free and Open/Source Software that can be used in creative projects.”
Please access the files for downlaod on:

If there are any schools, youth clubs or community centres that might be
interested in using the concept and principles of this kit, which incorporates the YDC teaching model of project-based learning, community building, creative online learning environment into their different educational settings, please let Doyan know with the
information on their postal address and the person in charge to address the kit to. The educator’s kit will be presented at Ars Electronica as well.

The link to MAster module of art, design, and technology for the Arab States can be accessed on:

Robo sapiens

Thursday, March 23rd, 2006

Robo sapiens
Robo sapiens
Evolution of a New Species
Peter Menzel and Faith D’Aluisio

“Around the world, scientists and engineers are participating in a high-stakes race to build the first intelligent robot. Many robots already exist — automobile factories are full of them. But the new generation of robots will be something else: smart machines that act like living creatures. When they are brought into existence, science fiction will have become fact.

What will happen then? With our prosthetic limbs, titanium hips, and artificial eyes, we are already beginning to resemble our machines. Equally important, our machines are beginning to resemble us. Robots already walk, talk, and dance; they can react to our facial expressions and obey verbal commands. When they take the next step and become fully autonomous, what will they do? Will we be partners or rivals? Could we meld into a single species — Robo sapiens?

In Robo sapiens, Peter Menzel and Faith D’Aluisio present the next generation of intelligent robots and their makers. Accompanying brilliant photographs of more than one hundred robots is an account of the little-known, yet vitally important scientific competition to build an autonomous robot. Containing extensive interviews with robotics pioneers, anecdotal “field notes” with behind-the-scenes information, and easy-to-understand technical data about the machines, Robo sapiens is a field guide to our mechanical future.

Peter Menzel is a photographer known for his coverage of international feature stories on science and the environment. His award-winning photographs have been published in Life, National Geographic, Smithsonian, the New York Times Magazine, Time, Stern, GEO, and Le Figaro. Together with Faith D’Aluisio, he is the co-creator of the books Material World: A Global Family Portrait and Women in the Material World; and is the co-author of Man Eating Bugs: The Art and Science of Eating Insects.

Faith D’Aluisio is a former television news producer. Her documentary and news series pieces have won regional and national awards from the Headlines Foundation, United Press International, Associated Press, and the Radio-Television News Directors Association. Together with Peter Menzel, she is the co-creator of the books Material World: A Global Family Portrait and Women in the Material World; and is the co-author of Man Eating Bugs: The Art and Science of Eating Insects. ”

International Handbook of Research in Arts Education

Friday, March 17th, 2006

New book of the Springer International Handbooks of Education series in press,
International Handbook of Research in Arts Education, section 12 on technologies “Art Education Avatars in Cyberspace: Research in Computer-Based Technology and Visual Arts Education” by Mary Stokrocki is refering to our paper and research undertaken in the previous German model project ArtDeCom.

International Handbook of Research in Arts Education
Series: Springer International Handbooks of Education, Vol. 16
Bresler, L. (Ed.)
2006, Approx. 1700 p., Hardcover
ISBN: 1-4020-2998-5

About this book
Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), the Handbook synthesizes existing research literature, helps define the past, and contributes to shaping the substantive and methodological future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the lived practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice.

The Handbook is organized into 13 sections, each centering on a major area or issue in arts education research. These areas include: History of arts education, curriculum, evaluation, cultural centers, appreciation, composition, informal learning, child culture, creativity, the body, spirituality, and technology. The individual chapters address cross-cultural research related to the central theme of the section from the perspectives of the particular arts discipline. Interludes provide reflective thoughts on the theme.
Written for:
Researchers, scholars, teacher educators, policy makers and administrators of arts organizations

Table of contents

BOOK ONE: SECTION 1: HISTORY: G. Cox, Section Editor,- G. COX: Prelude: Arts Education, the History of Education, and Curriculum History: some Crossing Points,- M. STANKEWICZ: Capitalizing Art Education: Mapping International Histories,- A.D. EFLAND: Interlude: Arts Education, the Aesthetic and Cultural Studies,- G. BOLTON: A History of Drama Education – a Search for Substance,- G. COX: The Teaching and Learning of Music in the Settings of Family, Church and School: Some Historical Perspectives,- R. COLWELL: Interlude: History looking forward,- A. DILS: Social History and Dance in Public Education,- A. WHYTE: The Teaching of English Language Arts as Poetic Language: An Institutionalist View

SECTION 2: CURRICULUM: Susan W. Stinson, Section Editor: SUSAN W. STINSON: Prelude: Making Sense of Curriculum Research in Arts Education,- J.R. BARRETT: Currents of Change in the Music Curriculum,- R.L. IRWIN and F. GRAEME CHALMERS: Experiencing the Visual and Visualizing Experiences,- D. WALKER: Interlude: On Learning to Draw and Paint as an Adult,- J. O’TOOLE and J. O’MARA: Proteus, The Giant At the Door: Drama and Theatre In the Curriculum,- L. BUTLER-KISBER et al: Narrative As Artful Curriculum Making,- T. BARONE: Interlude: Imagining Ms. Eddy Alive; or, The Return of the Arts Teacher and Her Personalized Curriculum,- D. BLUMENFELD-JONES and S.-Y. LIANG: Dance Curriculum Research,- F.V. NIELSEN: Music (and Arts) Education from the Point of View of Didaktik and Bildung,- J. RUSSELL and M. ZEMBYLAS: Arts Integration In the Curriculum: A Review Of Research and Implications For Teaching and Learning,- E. HARWOOD: Artists in the Academy: Curriculum and Instruction,-

SECTION 3: EVALUATION: R. Murphy and M. Espeland, Section Editors: R. MURPHY and M. ESPELAND: Prelude: Finding value in assessment and evaluation,- B. ORECK: To see and to share: evaluating the dance experience in education,- R.MURPHY: Harmonizing music and assessment in the classroom,- C. HIGGINS: Interlude: Reflections on a Line from Dewey,- K. HALL et al: Assessing English within the arts,- S. SCHONMANN: Wrestling with assessment in drama education,- E. EISNER: Interlude: Assessment and evaluation in education and the arts,- F. HAANSTRA and D. W. SCHöNAU: Evaluation research in visual arts education,-

SECTION 4: COMPOSITION: Sarah McCarthey, Section Editor,- S. MCCARTHEY: Prelude: Composing as metaphor and process,- J. WIGGINS: Compositional Process in Music,- S. MCCARTHEY: Four Metaphors of the Composing ,- K. SWANWICK: Interlude: Metaphor and the Mission of the Arts,- B. MCKEAN: Composition in Theatre: Writing and Devising Performance: T. HAGOOD and L. KAHLICH,- Research in Choreography: M. PARSONS Interlude: Art and Metaphor, Body and Mind,- A. KINDLER: Composing in Visual Arts,-

SECTION 5: APPRECIATION: M. Barrett, Section Editor,- M. BARRETT: Prelude: Locating the heart of experience: A prelude to appreciation,- A. DILS: Moving into dance: Dance appreciation as dance literacy,- S. SCHONMANN: Appreciation: The weakest link in drama/theatre education,- M. MARRETT: Music appreciation: Exploring similarity and difference S. LISHAN and T. HERMSEN,- Later “in the early world”: The changing role of poetry and creative writing in the K – 12 classroom,- T. BARRETT: Teaching toward appreciation in the visual arts,- M. GREENE: Interlude: The arches of experience,- R. STAKE: Interlude: On reading Maxine’s interlude,- J. BRUNER with L. BRESLER: Interlude: Postcards from “a world made possible”: Excerpts from virtual conversations,-

SECTION 6: MUSEUMS AND CULTURAL CENTERS: E. Vallance, Section Editor,- E. VALLANCE: Prelude: Museums, Cultural Centers, and What We Don’t Know,- C. HUGHES et al: The Role of Theater in Museums and Historic Sites: Visitors, Audiences, and Learners,- E. VALLANCE: Questions Asked in Art-Museum Education Research,- D. CARR: Interlude: Art Information, Arts Learners: The Role of Libraries,- J.W. DAVIDSON and N. JORDAN: “Private Teaching, Private Learning”: An Exploration of Music Instrument Learning in the Private Studio, Junior and Senior Conservatories,- M. ROSS: Interlude: Cultural Centers and Strategies of Being: Creativity, Sanctuary, the Public Square, and Contexts for Exchange,- S. E. PITTS: Music Beyond School: Learning through Participation,-

BOOK TWO: SECTION 7: INFORMAL LEANING: M. Mans, Section Editor,- M. MANS Prelude: Framing Informality,- E. DISSANAYAKE: In the beginning: Pleistocene and infant aesthetics and twenty-first century education in the arts,- Tia Dendora: Interlude: Two or ore forms of music,- M. MANS: Learning Aesthetic Values in African Musical Worlds,- B. NETTL: Interlude: An Ethnomusicological Perspective,- LISSA SOEP and JULIAN SEFTON-GREEM: Creative Media Cultures: Making and Learning beyond the School,-

SECTION 8: CHILD CULTURE: C.M. Thompson, Section Editor,- C.M. THOMPSON: Prelude: The Arts and Children’s Culture,- E. ANTTILA: Children as Agents in Dance,- P. SHEEHAN CAMPBELL: Musical Meaning in Children’s Cultures,- C.M. THOMPSOM: The Culture of Childhood and the Visual Arts,- B. WILSON: Interlude: A Story of Visual Cultural and Pedagogical Webs,- S. ETHERIDGE WOODSON: Children’s Culture and Mimesis: Representations, Rubrics, and Research,-

SECTION 9: SOCIAL & CULTURAL ISSUES: D. Risner and T. Costantino, Section Editors,- D. RISNER and T. COSTANTINO: Prelude: Social & Cultural Issues in Arts Education Research,- L.A. MCCAMMON: Research on Drama and Theatre for Social Change,- D. RISNER: Critical Social Issues in Dance Education Research,- M. GRUMET: Interlude: Social Issues,- B. OLSSON: Social issues in music education,- V. HARRIS: Master Narratives and Oppositional Texts: Aesthetics and Black Literature for Youth,- N. NODDINGS: Interlude: War and Peace in the Arts,- N. COHEN EVRON: Conflict and Peace: Challenges for Arts Educators,- E. GARBER and T. COSTANTINO: Social Issues in Art and Visual/ Material Culture Education,-

SECTION 10: THE BODY: K. Powell, Section Editor,- K. POWELL: Prelude: Moving from Still Life: Conceptions of the Body in Arts Education,- M. PETERS: The Body Also Has A History: A Critical Aesthetics for Arts Education,- P. DUNCUM and S. SPRINGGAY: Extreme Bodies: The Body as Represented and Experienced through Critical and Popular Visual Culture,- W. BOWMAN and K. POWELL: The Body in a State of Music,- D. ABRAM: Interlude: Astonished by a Stone: Art and the Eloquence of Matter,- J. GREEN: Student Bodies: Dance Pedagogy and the Soma,- C. OSMOND: Drama Education and the Body: “I Am, Therefore I Think”,-

SECTION 11: CREATIVITY: P. Burnard, Section Editor,- P. BURNARD: Prelude: Provocations in creativity research,- G. SULLIVAN: Creativity as research practice in the visual arts,- P. BURNARD: Routes to understanding musical creativity,- B. REIMER: Interlude: Artistic creativity, ethics and the authentic self,- K. GALLAGHER: Conceptions of creativity in drama education,- R. DUNLOP: Human Music: A case for teaching poetry in dark times,- P. ABBS: Interlude: The art of creativity: some personal reflections,- C.M. PRESS and E. WARBURTON: Creativity research in dance,-

SECTION 12: TECHNOLOGY: P. Webster, Section Editor,- P.R. WEBSTER: Introduction: Knowledge, Skills, Attitudes, and Values: Technology and its Role in Arts Education,- I. Snyder and S. BULFIN: Digital Literacy: What it Means for Arts Education,- P.R. WEBSTER: Computer-Based Technology and Music Teaching and Learning,- K. FERNEDING: Understanding the Message of the Medium: Media Technologies as an Aesthetic,- B.C. BRUCE: Interlude: Technology and Arts Education,- M. STOKROCKI: Art Education Avatars in Cyberspace: Research in Computer-Based Technology and Visual Arts Education,- M. PARRISH: Technology in Dance Education,-

SECTION 13: SPIRITUALITY: R.L. Irwin, Section Editor,- R.L. IRWIN: Prelude: Plumbing the Depths of Being Fully Alive,- S. GRADLE: Spiritual Ecology in Art Education: A Re-vision of Meaning,- P. LONDON: Concerning the Spiritual in Art Education,- M. PRENDERGAST and C. LEGGO: Interlude: Astonishing Wonder: Spirituality and Poetry in Educational Research,- C. SNOWBER: The Soul Moves: Dance and Spirituality in Educative Practice,- K. EGAN: Interlude: Education, Spirituality and the Arts,- K. MATSUNOBU: Japanese Spirituality and Music Practice: Art as Self-cultivation,- M. NZEWI: Interlude: The Force that Rides the Sound,- J. BOYCE-TILLMAN: Spirituality in the Musical Experience

Ästhetisch-informatische Medienbildung

Thursday, February 23rd, 2006

New book in press, to appear in Oberhausen, spring 2006 (ATHENA ARTIFICIUM Schriften zur Kunst und Kunstvermittlung), ISBN 3-89896-249-0 by Daniela Reimann: Ästhetisch-informatische Medienbildung mit Kindern und Jugendlichen.
Grundlagen, Szenarien und Empfehlungen für Gestaltungsprozesse in Mixed Reality-Lernräumen

New book on Interdisciplinary Art Education out now

Monday, August 29th, 2005

Interdisciplinary Arts Education
The new book on Interdisciplinary Art Education, edited by Mary Stokrocki is out now (Publication of the National Art Education Association (NAEA), Reston VA, USA, 2005, ISBN: 1-890160-31-8
Our paper of the ArtDeCom project’s approach to bring together arts and computer siences in general education can be found in part III, Future directions, p. 211-221)