Permanent On-Line in the Education of Art

DOKOŘÁN HANA STEHLÍKOVÁ BABYRÁDOVÁ ET AL. Permanent On-line in the Education of Art Permanent On-line in the Education of Art Lorrie Blair Alena Drury Sojková Lucie Hájková Kenneth Hay Amélie Lemieux Tereza Mikulová Catherine Parayre Anita Sinner Jan Slavík Hana Stehlíková Babyrádová (ed.) Petra Vichrová Ernst Wagner DOKOŘÁN Masaryk University Press This publication was conceived as part of specific research by the Department of Art Education, and was supported through the following grant: MUNI / A / 1527/2018, Connection – Contact – Community (CCC), for the research period of 2019; supported by Masaryk University as an investor; the program frame or type of project: MU Grant Agency, subprogram Category A – Specific research – Student research projects. Reviewers prof. PaedDr. Radek Horáček, Ph.D. prof. Mgr. Michal Koleček, Ph.D. Scientific Editorial Board of Masaryk University PhDr. Jan Cacek, Ph.D. prof. PhDr. Tomáš Kubíček, Ph.D. Mgr. Tereza Fojtová prof. RNDr. Jaromír Leichmann, Dr. rer. nat. doc. JUDr. Marek Fryšták, Ph.D. PhDr. Alena Mizerová Mgr. Michaela Hanousková doc. Ing. Petr Pirožek, Ph.D. prof. PhDr. Jiří Hanuš, Ph.D. doc. RNDr. Lubomír Popelínský, Ph.D. doc. RNDr. Petr Holub, Ph.D. Mgr. Kateřina Sedláčková, Ph.D. doc. Mgr. Jana Horáková, Ph.D. prof. RNDr. Ondřej Slabý, Ph.D. prof. MUDr. Lydie Izakovičová Hollá, Ph.D. prof. PhDr. Jiří Trávníček, M.A. prof. PhDr. Mgr. Tomáš Janík, Ph.D. doc. PhDr. Martin Vaculík, Ph.D. © Dokořán, 2020 © Masaryk University, 2020 ISBN 978-80-7363-447-6 (Dokořán, Praha) ISBN 978-80-210-9661-5 (Masaryk University, Brno) Any unique image that you desire probably already exists on the internet or in some da- tabase... the problem today is no longer how to create the right image, but how to find an already existing one. Lev Manovich Fandom, after all, is born of a balance between fascination and frustration: if media content didn’t fascinate us, there would be no desire to engage with it; but if it didn’t frustrate us on some level, there would be no drive to rewrite or remake it. Henry Jenkins PREFACE 9 POST-PRODUCTION AND INTERSUBJECTIVITY IN THE CONTEXT OF COMMUNICATION MODELS OF ART EDUCATION 11 MAKER RESEARCH: A PROPOSITION OF THINKING-WITH MAKER CULTURE AS SLOW SCHOLARSHIP 27 NEW MATERIALISM AND ENVIRONMENTALISM IN CO-EXISTENCE WITH DIGITAL TECHNOLOGIES: WHAT THE WATER GAVE ME 50 DISTRIBUTED ART PRACTICE: ARTISTIC NETWORKING IN THE DIGITAL AGE 65 EXPRESSION AS A WAY OF COGNITION IN ARTS-BASED RESEARCH 90 DIVERSITY 2.0 – ART EDUCATION IN THE CONTEXT OF GLOBALISATION 114 TEAMBUILDING: WORKING FOR TEXT-AND-IMAGE PROJECTS 120 ART EDUCATION AS PHILOSOPHY IN THE AGE OF THE INTERNET 134 SPECIFICS AND ADVANTAGES IN THE COOPERATION OF ARTISTS WITH AND WITHOUT OTHERNESS IN THE SAME TIME AND SPACE 149 SUPPORTING SOCIAL CHANGE FOR THE COMMUNITY OF THE INTELLECTUALLY DISABLED IN THE CZECH REPUBLIC 168 ARTISTIC SCHEMATISM IN THE DIGITAL AGE AND PRINCIPLE OF CONTACT 190 AUTHORS 222 RESUMÉ 234 PREFACE The key feature of today is the state of permanent on-line connectivity, which is due to the easy availability of images and text information on the Internet and the possibility to share media content on social networks. For visual arts, such as free visual arts, art education, graphic design and visual communication, the openness of information from various sources is a pre- requisite for the creation of visual and audio-visual productions, primarily by electronic media. General connectivity is a new phenomenon that needs to be handled in certain ways; however, approaches to the creative use of the state of connectivity are often unpredictable and uncontrollable. The basic form of reflection on this state is through professional discourse, conducted in order to obtain feedback, which will reveal both the generationally-conditioned ways of perceiving visual arts, as well as the various ways of understanding the messages con- tained in this permanent production. In art education, this situation can be compared to an open ‘playing field’, characterised by unrestricted access to reproduced images of all variet- ies, the free creation and free consumption of audio-visual products with different levels of visual processing, and the access to recycled variations of completed visual products as well as the permeability of production sources (permanent post-production). Finally, it is necessary to address the subjectivity of the creators of visual and audio-visual productions in the context of art education. The aim of the project was to collect and publish contributions on the key issues of the connection between the current climate of information society, contemporary art and contemporary art education. The authors of these papers are renowned experts in the field of art education theory (international discourse) from Europe, Canada, the United Kingdom, and Germany. The individual contributions will reflect the authentic approaches of theore- ticians of art education from different countries to writing about the core and common issues of international discourse on the subject. The editor assumes that the contact areas created among the different texts will highlight other possible ways of solving the issues of the development of the theory and practice of art education in international contexts. 9 Acknowledgements The editor would like to thank all of the authors participating in this publication for their original contributions, all of which are focused on the questions asked within the current discourse in art and in art education. POST-PRODUCTION AND INTER- SUBJECTIVITY IN THE CONTEXT OF COMMUNICATION MODELS OF ART EDUCATION Hana Stehlíková Babyrádová The Philosophy of a ‘Fluid Society’ and The Conditions for the Creation and Perception of Visual and Intermediary Works in the Context of the Theory of Visual Pedagogy However, according to Heidegger, we have seen that, a person, even at the high- est level of ‘being with himself’, does not go beyond ‘caring coexistence with oth- ers. The degree to which the Heidegger person can reach is precisely the stage of being free himself, which, as Heidegger emphasised, does not separate from the world, but is only now mature and determined to be in a true coexistence with the world.’ (Buber, 1997, p. 981) If we consider in depth the key signs of the artistic expression of a man living at the present time, we are unlikely to be able to reach a uniform definition. As an introductory quote to the first part of my text, I chose the legacy of Martin Buber on the Heideggerian con- ception of human existence, because, like Heidegger, Buber sees the meaning of human being in the unity of human freedom and ‘dependence’ on the existence of other entities and the world as such. The depiction of this unity is, among other things, the content of artistic crea- 1 Buber, M. (1997). Problém člověka. (Marek Skovajsa, Trans.). Prague: Kalich, Česká křesťanská akademie. 11 tion at various levels. It should be noted, however, that the next key feature of the present is the fact that artistic creation does not arise ‘from nothing’. A distinctive feature of the entire post-modern epoch and the art that arises in it, is its ability to make use of what has already been produced in the past and the search for new integration and interpretation of what has already been created. This principle of creation is called ‘post-production’ and in the last dec- ade it is the principle that has been most often used in both creative and applied arts. The term post-production in art can be interpreted in several ways. Its original role was re- lated to film art and video art. Post-production in these areas means work on the collected mate- rial – these are processes such as editing, sound scenes, and subtitles; however, we understand post-production in the extended sense as a certain ‘creative treatment of already finished works of art or fragments in order to discover new interpretations’. This extended understanding of post-production implies the denial of traditional ways of perceiving art works and the roles of their authors. Post-production is eliminating the boundaries between production and consumption, between the author and the viewer, and it opens up brand new approaches in the art market. Post-production also denies the originality of authorship, and the creator of a post-production artwork can be an artist – but they can also be an IT specialist, a promoter of art works, etc. The most often cited author dedicated to post-production is the French art theoretician Nicolas Bourriard. He draws attention to a certain chaotic situation in the areas of production and consumption of culture, which he claims are caused by the post-production principle of the creation of art works. As part of post-production, the artist becomes a conceptualist, combining historical and current artistic forms and often leaving for the recipient of the artwork free space to interpret the meanings of the work created. Social or political events, fashion, and economies are often involved in the contexts of post-production art works. Creating a post-production artwork is a permanent play. Here, it must be remembered that the authors of these playfully created art works are diverse characters, experiencing their own subjective interpretation. Yet, by using the art works of other entities to create theirs, they enter into dynamic fields that have the char- acter of ‘intersubjective’. This phenomenon, developed at the time of postmodernists, becomes a distinctive feature of contemporary creativity. Suppose the chaining of forms happens with 12 the personal intentions of the authors. These can use their experience with art works already completed, in which their authors put their own subjective ideas, feelings and experiences.

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