Global Media Arts Education: Mapping Global Perspectives of Media Arts in Education

Acknowledgments
Contents
Notes on Contributors
Abbreviations
List of Figures
List of Tables
Chapter 1: Introduction
	Considering the Necessity of Global Media Arts Education
	Media Arts and Educational Policy in the US
	Media Arts and Educational Policy in Japan
	Grasping a Global Perspective on Media Arts Education
	Guiding Themes in the Collection
		Part I. Activism in Global Media Arts: Political Mediascapes and Speaking Back to Power
		Part II. Reframing Global Media Arts: Theorizing Innovation in New Media
		Part III. Engaging Difference in Global Media Arts: Cultural Diversity and Empowerment
		Part IV. Contextualizing Global Media Arts: Case Studies in Pedagogy
	A Mapping, Not a Geography
	Wayfinders: Guides to Practice
	References
Part I: Activism in Global Media Arts: Political Mediascapes and Speaking Back to Power
	Chapter 2: Media Arts as Political Advocacy in Hong Kong’s Social Movements
		The Anti-Extradition Law Amendment Bill Movement
		Media Arts and Political Advocacy
		Media Arts in the Anti-Extradition Law Amendment Bill Movement
			Movement Anthem: “Glory to Hong Kong”
			Video-Game Activism
			Art Invasion of Public Spaces
			Mobile Apps and Real-Time Updates
			Disinformation Campaigns and Fake News
			Documentation and Archiving of Media Artifacts
		Media Arts Education for Political Advocacy
		References
	Chapter 3: Back to the People: Transforming the Role of Media Arts in the Context of the Chilean Social Uprising of October 2019
		The Social Uprising
		Chilean Media Arts after the Social Uprising through the Lenses of Artivism and Public Pedagogy
		Summary of Discussion and Suggestions for the Chilean Art Education Field
		References
	Chapter 4: Patriotism and Nationalism: Sounds of Dissent and Resistance in Contemporary India
		Poetics and Protest Culture: Participatory Traditions in South Asia
		Rap, Hip-Hop, and the Digitization of Protest Culture: Social Media and Social Movements
		Relevance to Art Education
		References
	Chapter 5: Disruption, Innovation, Creativity, and the “Right Thing” in the Age of Global Media Arts
		Statement of the FAAMG Problem
		Gather and Manipulate
		Control
		Limited Knowledge
		Limited Competition
		Resistance
		Parasitic Artistic Behavior
		Conclusion
		References
	Chapter 6: Zooming In: Learning with Videoconferencing as Posthuman Pedagogy
		Methods of Social Assemblage
		Assembling Nodes in the Network Being of Videoconferencing Platforms
			The Body and Zoom Fatigue
			Zoom as Performance in Cinema and Terror
		Zoom and Algorithmic Bias
		Conclusion
		References
Part II: Reframing Global Media Arts: Theorizing Innovation in New Media
	Chapter 7: Digital Making, Digital Breaking: Technological Dysfunction and a Postdigital Art Education
		Dysfunction
		Postdigital Art
		Digital Making, Digital Breaking
			Glitch Art
			Post-Internet Art
		Postdigital Art Education
		References
	Chapter 8: Emerging Technologies in Art Education: What If I Don’t Want To?
		Vlogging: An Old Technology That Can Help Us Find a New Way
		Teaching: Then and Now
		I Don’t Want To: Resistance to Curricular Incorporation of Creative Technologies
		A Path Forward
			Community and Collaboration
			Do-It-Yourself Learning
			Playfulness
			Creative Resource Sharing
		Conclusion
		References
	Chapter 9: Digital Media and Art Education: The European Digital Competence Framework
		Digital Literacy
		Digital Competence
		The Soundscapes Project
		Digital Media Arts Program
			The Pixel Project and Intergenerational Collaboration
			Augmented Reality and Collaborative Virtual Learning
			Summary
		Media Arts Education Gives a New Perspective for Digital Literacy
		References
	Chapter 10: The Significance of Media Arts Education from a Cognitive Science Approach
		Meeting Point of Image Media and Art Education
		What is V-TISK?
		Methodology for Utilizing the Material Characteristics of Image Media
		An Example Model of the V-TISK Learning Process
		Is V-TISK Really Happening in Our Brain?
		Conclusion
		References
	Chapter 11: Entanglements in AI Art
		Theoretical Framework
		Becoming with Robots, Becoming with Earthworms
			Intelligence as Material
			Artificial Stupidity and Earthworms
			Becoming with AI
		Conclusion
		References
	Chapter 12: Artificial Intelligence, Ethics, and Art Education in a Posthuman World
		Posthuman Framework
		The Ethics of AI
			Current Landscape of Global AI Ethics Policies
			Posthumanist Ethics and the Work of AI Artists
		Implications for Art Education
		Conclusion
		References
Part III: Engaging Difference in Global Media Arts: Cultural Diversity and Empowerment
	Chapter 13: Decoding Stereotypes in Child-Oriented Media toward LGBTQ+: Preservice Art Teachers’ Perspectives
		Literature Review
			Media Literacy
			Queer Representation: Queer Main-Text and Queer Subtext
		Study Design and Research Methods
			Participants
			Design of the Project
				Initial Viewing (Selecting Films and Media)
				Introducing Approaches to Queering Art Education
				Group Discussion with Prompts
				Creating a Cartoon Character
				Individual Reflection on the Designed Character
			Research Methods
		Discussion
			Challenging Binary Categorization and Misrepresentations
			Practicing Critical and Divergent Thinking
			Designing and Teaching an Inclusive Art Curriculum
			Becoming Allies and Advocating for Equality and Diversity
		Limitations, Recommendations, and Opportunities
		Conclusion
		References
	Chapter 14: Creating Social Dialogues through a Media Arts Education Project in the Canary Islands
		The Competence-based Art Education Curriculum in the Canary Islands
		Art and Diversity for an Engaged Art Education
		Setting the Context for an Art Education Project
		Cultural Identities beyond Stop-Motion Movies
		Stop-Motion Movies about Social Justice Issues
		Reflection Dialogues
		Results and Conclusions
		References
	Chapter 15: Media Arts and Assistive Technologies as Empowering Global Communication Tools for Students with Visual Impairments
		How Do You Teach Art to Students with Visual Impairments?
		Teaching with Multisensory Resources and Assistive Technologies
			Creating Stop-Motion Animations: “It’s Always Fun. It’s Always Crazy in the Art Room”
			Navigating New Spaces
			Script Development
			Stop-Motion Animation Production
		Empowering Implications for Global Education
			Making Accessible Technologies Accessible
			Professional Development: “You Can Actually Make a Difference in Someone’s Life”
			Fostering Independence and Leadership Roles
		Conclusion
		References
	Chapter 16: Uganda-US Creative Collaborations in Media Arts
		Uganda: Makerere University’s Media Arts Forays
		United States: Penn State University’s Art Education Media Arts Forays
		Technological Challenges
		Transcultural Dialogic Arts-based Collaborations
		Two Transcultural Dialogic Arts-based Collaborations
			Sensory Immersion in Narratives of Places: (Re)creating Histories (2019)
			Remix Exquisite Engendering (2020)
		Future Dialogic Media Arts Collaborations
		References
Part IV: Contextualizing Global Media Arts: Case Studies in Pedagogy
	Chapter 17: Case Studies of High School Art Teachers’ Perceptions of Media Arts Teaching under the New Arts Curriculum Guidelines in Taiwan
		Past, Present, and Future: Art Teachers’ Attitudes toward New Media
			The Past
			The Present
			The Future
		Present Research: Understanding Teachers’ Perceptions of Teaching Media Arts
			Research Questions
			Research Method
			Participants
		Data Analysis and Discussion
			Early Learning Environments and Art-Learning Experiences
			Experiences and Perceptions of Teaching New Media
			Perceptions of and Reactions to the New Policy
		Conclusion
			The Past: Influences on Perceptions of New Media
			The Present: Triggers to Teach New Media
			The Future: Responses to the Policy Change
			Implications
		References
	Chapter 18: Time Management in Media Arts Education: Stories from Taiwan
		Time Management in an Educational Setting
		Organization of This Study
		Jack: Time Creates Co-Teaching Opportunities
		Madeline: Time Motivates Learning
		Olivia: Time Expands Limited Resources
		Discussions and Shared Concerns
			Time for Collaboration and Networking
			Time for Professional Development Support and Guidelines
			Time for Bonding with Students
			Time for Self-Regulated Learning Opportunities
		Conclusion
		References
	Chapter 19: The Meaning of Animating in the Digital Era: Animation Education Practice in Japan
		Animating as Activities of Make-Believe Using Motion
		Two Bodies in Animating
		Animating Based on the Phenomenal Body
		Animating as Understanding Others
		Educational Significance of Animating in the Digital Era
		References
	Chapter 20: New Media Arts Education at the Institute of Advanced Media Arts and Sciences
		An Overview of IAMAS
		IAMAS Over the Years
			Higher Education in Japan
			Specialized Training Colleges
			Foundation and Objectives
			From Textiles to Digital Media
			The Academy
			The Multimedia Studio and the Art and Media Lab Programs
			A Period of Experimentation
			The Core Characteristics of Education at IAMAS
			IAMAS’s International Identity
			Facilities
			The Institute
			Local Engagement
			A New Campus
			IAMAS’s Academic Approach
		Collaborative Projects at IAMAS
			Multimedia Installations for the Hon’ami Kōetsu Exhibition
			MIRAGE: Computer Vision for Artists
			Neo Co-Creation
		Conclusion
		References
Wayfinders: Guides to Practice
Index