From ‘tool’ to ‘collaborator’: Digital 3D modelling as a catalyst for new aesthetic practices: A study of student teachers’ education in visual arts

Mie Buhl; Kirsten  Skov

From ‘tool’ to ‘collaborator’: Digital 3D modelling as a catalyst for new aesthetic practices: A study of student teachers’ education in visual arts

Mie Buhl, Kirsten Skov

Publikation: Bidrag til bog/antologi/rapport/konference proceeding › Bidrag til bog/antologi › Forskning

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Abstract

This article takes its point of departure in the assumption that digital coding as a means for art-making is epistemologically and ontologically related to practices of conceptual art. As the conceptual artist develops an idea, creates a ‘recipe’ for a work that comes alive in the encounter and interaction with an audience, so does a ‘digital coder’ produce a recipe for the computer to execute and make available for interaction with a user. the purpose of this article is to discuss how digital coding and construction may provide new practices in visual arts education. The discussion is based on a study of digital 3D modelling practices performed by student teachers in visual arts. The aim is to reveal potential new aesthetic qualities emerging from an attempt to merge practices from two different epistemological paradigms: visual arts and computer science (Buhl, 2019). Another aim is to contribute to the discussion about how digital coding and construction can become a relevant part of a contemporary teaching subject in teacher education.

Originalsprog	Engelsk
Titel	3D Digital Modelling in Visual Arts Education
Redaktører	Mie Buhl, Tarja Haïkïo
Antal sider	21
Vol/bind	20
Udgivelsessted	Umeå University
Forlag	Umeå University
Publikationsdato	14 feb. 2024
Sider	51-73
Artikelnummer	4
ISBN (Trykt)	978-91-8070-267-6
ISBN (Elektronisk)	978-91-8070-267-6
Status	Udgivet - 14 feb. 2024

Navn	TILDE - Department of creative studies
ISSN	1103-8470

Emneord

digital 3D modelling
Visual arts education
Aethetic learning
Visual Learning Design
visual learning
digital art
computational thinking
technological comprehension
Teknologiforståelse
Teacher Education
Teacher educator

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Umeå University, SE-901 87 Umeå, Sweden

3D digital modelling in visual arts education – How does technology feed in to new approaches to sculpturing and what are the new aesthetic qualities?
Buhl, M. (PI (principal investigator)), Skov, K. (PI (principal investigator)), Haïkö, T. (PI (principal investigator)), Hildén, D. T. (PI (principal investigator)), Marklund, F. (PI (principal investigator)), Heinonen, M. (PI (principal investigator)), Skriver, J. A. (PI (principal investigator)) & Händel, V. D. (PI (principal investigator))
01/01/2021 → 31/07/2022
Projekter: Projekt › Forskning

1 Organisering af eller deltagelse i workshop, kursus, seminar, udstilling eller lignende
1 Redaktør af uafslutttet antologi/samleværk

NERA Congress 2023
Buhl, M. (Deltager)
15 mar. 2023 → 17 mar. 2023
Aktivitet: Deltagelse i faglig begivenhed › Organisering af eller deltagelse i workshop, kursus, seminar, udstilling eller lignende
Tilde (Forlag)
Buhl, M. (Redaktør) & Haïkö, T. (Redaktør)
jun. 2022 → 14 feb. 2024
Aktivitet: Redaktionelt arbejde og fagfællebedømmelse › Redaktør af uafslutttet antologi/samleværk › Forskning

Fil

Medlem af ministeriet fagudvalg for undervisningsfaget billedkunst
Buhl, M. (Deltager)
Impact: Politisk impact, Anden impact

Citationsformater

Buhl, Mie ; Skov, Kirsten . / From ‘tool’ to ‘collaborator’: Digital 3D modelling as a catalyst for new aesthetic practices : A study of student teachers’ education in visual arts. 3D Digital Modelling in Visual Arts Education. red. / Mie Buhl ; Tarja Haïkïo. Bind 20 Umeå University : Umeå University, 2024. s. 51-73 (TILDE - Department of creative studies).

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abstract = "The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. Thus, the purpose of this article is to discuss how digital coding and construction may provide new practices in visual arts education. The discussion is based on a study of digital 3D modelling practices performed by student teachers in visual arts.",

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From ‘tool’ to ‘collaborator’: Digital 3D modelling as a catalyst for new aesthetic practices: A study of student teachers’ education in visual arts. / Buhl, Mie; Skov, Kirsten .
3D Digital Modelling in Visual Arts Education. red. / Mie Buhl; Tarja Haïkïo. Bind 20 Umeå University: Umeå University, 2024. s. 51-73 4 (TILDE - Department of creative studies).

Publikation: Bidrag til bog/antologi/rapport/konference proceeding › Bidrag til bog/antologi › Forskning

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AU - Skov, Kirsten

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N2 - The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. Thus, the purpose of this article is to discuss how digital coding and construction may provide new practices in visual arts education. The discussion is based on a study of digital 3D modelling practices performed by student teachers in visual arts.

AB - The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. The renewed interest in digital programming and computational thinking in Nordic education offers fresh opportunities for visual arts teacher education to engage with contemporary artistic practices (e.g., Andersen et al., 2022). Still, access to these opportunities may be associated with certain reservations about digitalisation among practitioners in a subject traditionally linked with analogue means for art making and the promotion of sensuous experiences as a core identifier. Why spend even more time on digital devices, which are already a time-consumer embedded in every aspect of our daily lives 24/7? Why not make the visual arts classroom a technology-free zone where bodily contemplative interaction with physical materials offers an escape from a digitalised environment and hence a space for potential personal growth? The short answer is that education is about being in and tackling reality, rather than building a fence against it. Further, visual arts hold the potential to explore the implications of technology by using it both as a means for art-making practices as well as addressing it as a theme for challenging our assumptions about what it means to live in a digitalised world. Thus, the purpose of this article is to discuss how digital coding and construction may provide new practices in visual arts education. The discussion is based on a study of digital 3D modelling practices performed by student teachers in visual arts.

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KW - technological comprehension

KW - Teknologiforståelse

KW - Teacher Education

KW - Teacher educator

KW - visual arts education

KW - digital 3D modelling

KW - 3D modelling

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KW - Digital technology

KW - teacher edcuation

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KW - Aethetic learning

KW - ART

KW - Visual culture

KW - art-based practices

KW - student teachers

KW - art pedagogy

KW - Teknologiforståelse

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KW - programming

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KW - visual design

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PB - Umeå University

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ER -

From ‘tool’ to ‘collaborator’: Digital 3D modelling as a catalyst for new aesthetic practices: A study of student teachers’ education in visual arts

Abstract

Emneord

FN’s Verdensmål

Adgang til dokumentet

AUB Link

Andre filer og links

Fingeraftryk

Projekter

3D digital modelling in visual arts education – How does technology feed in to new approaches to sculpturing and what are the new aesthetic qualities?

Aktiviteter

NERA Congress 2023

Tilde (Forlag)

Impacts

Medlem af ministeriet fagudvalg for undervisningsfaget billedkunst

Citationsformater