In this article, art education researchers from four universities share a multisite research proj... more In this article, art education researchers from four universities share a multisite research project dealing with teaching digital game design to preservice art educators. The research project was initially designed in response to recent trends to develop 21st-century skills in education, digital media, and art/design education, as advocated by groups such as the Humanities, Arts, Science, and Technology Alliance and Collaboratory, the STEM [science, technology, engineering, and math] to STEAM [science, technology, engineering, art, and math] Initiative, and competitions such as the STEM Video Game Challenge and Scholastic Arts. The authors describe the major findings from this collaborative research, focusing on preservice art teachers’ responses, challenges, and promises in introducing digital game design as art and curriculum, and make suggestions for further research and practical application.
Games have played an important role in modern educational methodologies. Beginning with the work ... more Games have played an important role in modern educational methodologies. Beginning with the work of luminaries like Froebel, Montessori, and Dewey and continuing through the Cold War, the counter-culture movement of the 1960s and ’70s, and into the present day, shifts in educational practice can be traced historically using the lens of games, where concepts like play, win strategies, cooperation, and engagement figure prominently in curricular structures. The author investigates how games have been discussed in art education literature, linking how the use of games in art educational environments significantly reflects the sociopolitical contexts of the 20th century.
This action research study examines the making of video games, using an integrated development en... more This action research study examines the making of video games, using an integrated development environment software program called GameMaker, as art education curriculum for students between the ages of 8-13. Through a method I designed, students created video games using the concepts of move, avoid, release, and contact (MARC) to explore their understanding of complexity thinking. From this process of making games, students learned systems, deconstructing systems, and reconstructing systems using game-based art pedagogy. The findings of this study indicate that creating games expands the content of making in art education by being inclusive of the personal worlds and lives of students. Using the concept of MARC encourages students to think about the complexity of systems and how they work, identifying meaningful associations between students’ understanding of their worlds and games.
Imagine teeth, eyes, and tongues are digitally added to a shadow puppet as a child's arms mov... more Imagine teeth, eyes, and tongues are digitally added to a shadow puppet as a child's arms move in front of a light projection. The enhanced shadow puppet squeaks and growls, growing shapes that react as the child moves around (see Figure 1) Imagine students' charcoal drawings are scanned and run through a computer program to create an animated virtual fungus growing around the light and dark passages of the drawing (see Figure 2) How is this possible? How can software interact with shadow puppets and charcoal drawings? These are examples of creative code (Maeda, 2004; Peppler & Kafai, 2005), programmable objects1 developed as art by Philip Worthington (Shadow Monsters, 2004-present)2 and Ryan Alexander (Mycelium, 2005-present) These examples are a small representation of the history of code-based artworks exploring both digital image manipulation and realtime performance (Lovejoy, 1997) Creative coding requires a range of problem-solving skills using computer algorithms or what has generally been called computational thinking (Wing, 2010) In this article, we discuss the value of art students engaging in computational thinking by playfully creating their own computer code as both an art medium and as an opportunity to critically think about the ways programmable digital media shapes society 3When art students play a video game or show each other their favorite smartphone app, too often they are able to discuss how the computer program interacts with the user, but unable to describe or articulate how these programmable objects function Yet, art students can articulate firing processes in ceramics; how light and chemical reactions work in darkroom photography; or how mixing of pigments affects the hue, value, and chromatic intensity of paint All of these forms of knowledge develop the technical skills of artists However, these are not the only forms of knowledge a 21st-century artist might need Recent art education scholarship includes critique, analysis, and making with digital media as part of field research in visual culture and digital literacy (Buffington, 2008; Castro, 2012; Darts, 2010; Keifer-Boyd, 2005; McClure, 2013; Sweeny, 2010; Taylor & Carpenter, 2002) However, few art educators have demonstrated expertise in computer programming, so the field has largely stayed away from critically investigating how programmable objects function and developing technical skills like computer programming as a creative practice for art contexts Digital media theorists-critically looking at programmable objects like the video game Civilization® (Galloway, 2004) and image editing software like Adobe® Photoshop® (Manovich, 2013)-examine how cultural biases and limitations impact software's functionality in culture and contemporary society To fill in the gap between theory and practice, we argue that art education can play a role in developing the critical thinking skills of 21st-century students by augmenting the K-12 art curriculum to include computational thinking as a practice of critical digital making-a creative process using programmable objects to engage with sociocultural contexts to make art(Re)Thinking Art Education Programming (sic): Computational Thinking & ConstructionismWhile computational thinking is discussed extensively in fields of the learning sciences and instructional technology, there has yet to be a consistent definition (Brennen & Resnick, 2012) Coined by scientist and educational theorist Seymour Papert (1996), computational thinking has been defined as an algorithmic problem solving method, "represented in a form that can be effectively carried out by an informationprocessing agent" (Wing, 2010, p 1) By this definition, computational thinking has been implicitly connected to programmable objects and their design, whether software or hardware Like many fields of art and design, dispositions essential to computational thinking include confidence in dealing with complexity, persistence, tolerance for ambiguity, and the ability to deal with open-ended problems (CSTA Standards Task Force, 2011) Computer scientist Jeannette Wing (2006) argued that computational thinking is a fundamental skill for everyone, not just computer scientists, citing the importance of integrating computational ideas into other disciplinesArt programs like the ones described in Studio Thinking (Hetland, Winner, Veenema, Sheridan, & Perkins, 2007) push students to work in ways aligning with computational thinking such as persistence in working with difficult and open-ended problems Yet, the art examples in Studio Thinking stay within the traditional mediums of ceramics, painting, drawing, photography, and sculpture-leaving out computation and digital media Although recent research explores how principles of Studio Thinking can be applied to digital making (Sheridan, 2011), we, the authors of this article, believe computational thinking through critical digital making should be embedded in the art curriculum to equip…
ABSTRACT This article addresses the standards of technology in the visual arts, arguing the stand... more ABSTRACT This article addresses the standards of technology in the visual arts, arguing the standards function as de facto policy, the guidelines that shape what teachers teach. In this study, we investigate how art education standards approach technology as a teaching tool and artmaking medium, analyzing the current National Visual Arts Standards, the 21st Century Skills, the National Art Education Association (NAEA) Standards for Art Teacher Preparation, the NAEA Professional Standards for Visual Arts Educators, and how 26 university art education programs teach technology. Because a new set of digital standards were developed as media arts, separate from the visual arts, we believe that media arts should be considered a subset of the larger umbrella of visual arts, seeing visual art educators are the best equipped to address the new digital media arts standards and forms of making. Finally the article makes suggestions about how university art teacher preparation programs can redirect their courses to better relate to contemporary art practices, current educational uses of technology, and the world of ubiquitous computing.
... Why? An Internet Project: Art in the Aftermath. Autores: Ryan Patton; Localización: Visual ar... more ... Why? An Internet Project: Art in the Aftermath. Autores: Ryan Patton; Localización: Visual arts research: educational, historical, philosophical, and psychological perspectives, ISSN 0736-0770, Issue 60, 2005 , págs. 76-88. Fundación Dialnet. Acceso de usuarios registrados. ...
UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection ... more UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest. Games as artistic medium: Interfacing complexity theory in game-based art pedagogy. by ...
2021 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW)
We present a programmable virtual environment that allows users to create and manipulate 3D objec... more We present a programmable virtual environment that allows users to create and manipulate 3D objects via code while inside virtual reality. Our environment supports the control of 3D transforms, physical, and visual properties. Programming is done by means of a custom visual block-language that is translated into Lua language scripts. We believed that the direction of this project will benefit computer science education in helping students to learn programming and spatial thinking more efficiently.
Subscriptions: jCRAE is an open-source online publication of USSEA. While access is free, readers... more Subscriptions: jCRAE is an open-source online publication of USSEA. While access is free, readers and people interested in supporting the mission and activities of the journal and of USSEA are encouraged to join USSEA (for more information about the organization, please visit www.ussea.netU). Annual membership dues are $25 and include issues of the Newsletter.
This article addresses the standards of technology in the visual arts, arguing the standards func... more This article addresses the standards of technology in the visual arts, arguing the standards function as de facto policy, the guidelines that shape what teachers teach. In this study, we investigate how art education standards approach technology as a teaching tool and artmaking medium, analyzing the current and draft National Visual Arts Standards, the 21st Century Skills, the NAEA Standards for Art Teacher Preparation, the NAEA Professional Standards for Visual Arts Educators, and how 26 university art education programs teach technology. Because a new set of digital standards are being developed as media arts, separate from the visual arts, we believe that media arts should be considered a subset of the larger umbrella of visual arts, seeing visual art educators are the best equipped to address the new digital media arts standards and forms of making. Finally the article makes suggestions about how university art teacher preparation programs can redirect their courses to better relate to contemporary art practices, current educational uses of technology, and the world of ubiquitous computing.
Computer code and programmable objects are a ubiquitous
part of our everyday lives. Over the past... more Computer code and programmable objects are a ubiquitous part of our everyday lives. Over the past 25 years critical engagement with digital media has become a part of the art education curriculum. However, involving art students in utilizing processing agents as part of studio practice by learning how to code programming languages is a rare occurrence. This article advocates for computational thinking as an urgent need within art education to prepare students to utilize digital innovations and create code-based artworks. By reviewing the constructionist origins of computational thinking for art educational purposes, we posit that creative code can benefit studio art practice while making broader contributions to conceptions of computational thinking across disciplines. We emphasize three concepts to engage in critical digital making by recognizing code as critical text, code as open or proprietary, and code as digital material to be performed and acted upon.
In this article, art education researchers from four universities share a multisite research proj... more In this article, art education researchers from four universities share a multisite research project dealing with teaching digital game design to preservice art educators. The research project was initially designed in response to recent trends to develop 21st-century skills in education, digital media, and art/design education, as advocated by groups such as the Humanities, Arts, Science, and Technology Alliance and Collaboratory, the STEM [science, technology, engineering, and math] to STEAM [science, technology, engineering, art, and math] Initiative, and competitions such as the STEM Video Game Challenge and Scholastic Arts. The authors describe the major findings from this collaborative research, focusing on preservice art teachers’ responses, challenges, and promises in introducing digital game design as art and curriculum, and make suggestions for further research and practical application.
Games have played an important role in modern educational methodologies. Beginning with the work ... more Games have played an important role in modern educational methodologies. Beginning with the work of luminaries like Froebel, Montessori, and Dewey and continuing through the Cold War, the counter-culture movement of the 1960s and ’70s, and into the present day, shifts in educational practice can be traced historically using the lens of games, where concepts like play, win strategies, cooperation, and engagement figure prominently in curricular structures. The author investigates how games have been discussed in art education literature, linking how the use of games in art educational environments significantly reflects the sociopolitical contexts of the 20th century.
This action research study examines the making of video games, using an integrated development en... more This action research study examines the making of video games, using an integrated development environment software program called GameMaker, as art education curriculum for students between the ages of 8-13. Through a method I designed, students created video games using the concepts of move, avoid, release, and contact (MARC) to explore their understanding of complexity thinking. From this process of making games, students learned systems, deconstructing systems, and reconstructing systems using game-based art pedagogy. The findings of this study indicate that creating games expands the content of making in art education by being inclusive of the personal worlds and lives of students. Using the concept of MARC encourages students to think about the complexity of systems and how they work, identifying meaningful associations between students’ understanding of their worlds and games.
Imagine teeth, eyes, and tongues are digitally added to a shadow puppet as a child's arms mov... more Imagine teeth, eyes, and tongues are digitally added to a shadow puppet as a child's arms move in front of a light projection. The enhanced shadow puppet squeaks and growls, growing shapes that react as the child moves around (see Figure 1) Imagine students' charcoal drawings are scanned and run through a computer program to create an animated virtual fungus growing around the light and dark passages of the drawing (see Figure 2) How is this possible? How can software interact with shadow puppets and charcoal drawings? These are examples of creative code (Maeda, 2004; Peppler & Kafai, 2005), programmable objects1 developed as art by Philip Worthington (Shadow Monsters, 2004-present)2 and Ryan Alexander (Mycelium, 2005-present) These examples are a small representation of the history of code-based artworks exploring both digital image manipulation and realtime performance (Lovejoy, 1997) Creative coding requires a range of problem-solving skills using computer algorithms or what has generally been called computational thinking (Wing, 2010) In this article, we discuss the value of art students engaging in computational thinking by playfully creating their own computer code as both an art medium and as an opportunity to critically think about the ways programmable digital media shapes society 3When art students play a video game or show each other their favorite smartphone app, too often they are able to discuss how the computer program interacts with the user, but unable to describe or articulate how these programmable objects function Yet, art students can articulate firing processes in ceramics; how light and chemical reactions work in darkroom photography; or how mixing of pigments affects the hue, value, and chromatic intensity of paint All of these forms of knowledge develop the technical skills of artists However, these are not the only forms of knowledge a 21st-century artist might need Recent art education scholarship includes critique, analysis, and making with digital media as part of field research in visual culture and digital literacy (Buffington, 2008; Castro, 2012; Darts, 2010; Keifer-Boyd, 2005; McClure, 2013; Sweeny, 2010; Taylor & Carpenter, 2002) However, few art educators have demonstrated expertise in computer programming, so the field has largely stayed away from critically investigating how programmable objects function and developing technical skills like computer programming as a creative practice for art contexts Digital media theorists-critically looking at programmable objects like the video game Civilization® (Galloway, 2004) and image editing software like Adobe® Photoshop® (Manovich, 2013)-examine how cultural biases and limitations impact software's functionality in culture and contemporary society To fill in the gap between theory and practice, we argue that art education can play a role in developing the critical thinking skills of 21st-century students by augmenting the K-12 art curriculum to include computational thinking as a practice of critical digital making-a creative process using programmable objects to engage with sociocultural contexts to make art(Re)Thinking Art Education Programming (sic): Computational Thinking & ConstructionismWhile computational thinking is discussed extensively in fields of the learning sciences and instructional technology, there has yet to be a consistent definition (Brennen & Resnick, 2012) Coined by scientist and educational theorist Seymour Papert (1996), computational thinking has been defined as an algorithmic problem solving method, "represented in a form that can be effectively carried out by an informationprocessing agent" (Wing, 2010, p 1) By this definition, computational thinking has been implicitly connected to programmable objects and their design, whether software or hardware Like many fields of art and design, dispositions essential to computational thinking include confidence in dealing with complexity, persistence, tolerance for ambiguity, and the ability to deal with open-ended problems (CSTA Standards Task Force, 2011) Computer scientist Jeannette Wing (2006) argued that computational thinking is a fundamental skill for everyone, not just computer scientists, citing the importance of integrating computational ideas into other disciplinesArt programs like the ones described in Studio Thinking (Hetland, Winner, Veenema, Sheridan, & Perkins, 2007) push students to work in ways aligning with computational thinking such as persistence in working with difficult and open-ended problems Yet, the art examples in Studio Thinking stay within the traditional mediums of ceramics, painting, drawing, photography, and sculpture-leaving out computation and digital media Although recent research explores how principles of Studio Thinking can be applied to digital making (Sheridan, 2011), we, the authors of this article, believe computational thinking through critical digital making should be embedded in the art curriculum to equip…
ABSTRACT This article addresses the standards of technology in the visual arts, arguing the stand... more ABSTRACT This article addresses the standards of technology in the visual arts, arguing the standards function as de facto policy, the guidelines that shape what teachers teach. In this study, we investigate how art education standards approach technology as a teaching tool and artmaking medium, analyzing the current National Visual Arts Standards, the 21st Century Skills, the National Art Education Association (NAEA) Standards for Art Teacher Preparation, the NAEA Professional Standards for Visual Arts Educators, and how 26 university art education programs teach technology. Because a new set of digital standards were developed as media arts, separate from the visual arts, we believe that media arts should be considered a subset of the larger umbrella of visual arts, seeing visual art educators are the best equipped to address the new digital media arts standards and forms of making. Finally the article makes suggestions about how university art teacher preparation programs can redirect their courses to better relate to contemporary art practices, current educational uses of technology, and the world of ubiquitous computing.
... Why? An Internet Project: Art in the Aftermath. Autores: Ryan Patton; Localización: Visual ar... more ... Why? An Internet Project: Art in the Aftermath. Autores: Ryan Patton; Localización: Visual arts research: educational, historical, philosophical, and psychological perspectives, ISSN 0736-0770, Issue 60, 2005 , págs. 76-88. Fundación Dialnet. Acceso de usuarios registrados. ...
UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection ... more UMI. ProQuest® Dissertations & Theses The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest. Games as artistic medium: Interfacing complexity theory in game-based art pedagogy. by ...
2021 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW)
We present a programmable virtual environment that allows users to create and manipulate 3D objec... more We present a programmable virtual environment that allows users to create and manipulate 3D objects via code while inside virtual reality. Our environment supports the control of 3D transforms, physical, and visual properties. Programming is done by means of a custom visual block-language that is translated into Lua language scripts. We believed that the direction of this project will benefit computer science education in helping students to learn programming and spatial thinking more efficiently.
Subscriptions: jCRAE is an open-source online publication of USSEA. While access is free, readers... more Subscriptions: jCRAE is an open-source online publication of USSEA. While access is free, readers and people interested in supporting the mission and activities of the journal and of USSEA are encouraged to join USSEA (for more information about the organization, please visit www.ussea.netU). Annual membership dues are $25 and include issues of the Newsletter.
This article addresses the standards of technology in the visual arts, arguing the standards func... more This article addresses the standards of technology in the visual arts, arguing the standards function as de facto policy, the guidelines that shape what teachers teach. In this study, we investigate how art education standards approach technology as a teaching tool and artmaking medium, analyzing the current and draft National Visual Arts Standards, the 21st Century Skills, the NAEA Standards for Art Teacher Preparation, the NAEA Professional Standards for Visual Arts Educators, and how 26 university art education programs teach technology. Because a new set of digital standards are being developed as media arts, separate from the visual arts, we believe that media arts should be considered a subset of the larger umbrella of visual arts, seeing visual art educators are the best equipped to address the new digital media arts standards and forms of making. Finally the article makes suggestions about how university art teacher preparation programs can redirect their courses to better relate to contemporary art practices, current educational uses of technology, and the world of ubiquitous computing.
Computer code and programmable objects are a ubiquitous
part of our everyday lives. Over the past... more Computer code and programmable objects are a ubiquitous part of our everyday lives. Over the past 25 years critical engagement with digital media has become a part of the art education curriculum. However, involving art students in utilizing processing agents as part of studio practice by learning how to code programming languages is a rare occurrence. This article advocates for computational thinking as an urgent need within art education to prepare students to utilize digital innovations and create code-based artworks. By reviewing the constructionist origins of computational thinking for art educational purposes, we posit that creative code can benefit studio art practice while making broader contributions to conceptions of computational thinking across disciplines. We emphasize three concepts to engage in critical digital making by recognizing code as critical text, code as open or proprietary, and code as digital material to be performed and acted upon.
In this article, art education researchers from four universities share a multisite research proj... more In this article, art education researchers from four universities share a multisite research project dealing with teaching digital game design to preservice art educators. The research project was initially designed in response to recent trends to develop 21st-century skills in education, digital media, and art/design education, as advocated by groups such as the Humanities, Arts, Science, and Technology Alliance and Collaboratory, the STEM [science, technology, engineering, and math] to STEAM [science, technology, engineering, art, and math] Initiative, and competitions such as the STEM Video Game Challenge and Scholastic Arts. The authors describe the major findings from this collaborative research, focusing on preservice art teachers’ responses, challenges, and promises in introducing digital game design as art and curriculum, and make suggestions for further research and practical application.
Initiatives in STEAM curriculum benefit greatly from informal teaching and learning in the maker ... more Initiatives in STEAM curriculum benefit greatly from informal teaching and learning in the maker movement by exploring stuff, sharing, and creating connections. The authors see the availability of stuff, especially electronic components, as expanding ways to think about the domain of art materials. From this expanded domain, sharing develops the exchange of knowledge and inquiry as a part of a maker’s practice. Extensive sharing builds connections between members of a community through the creation, presentation, critical viewing, and discussion of making practices. Art educators contribute to the maker movement and STEAM initiatives by focusing on meaning through transdisciplinary inquiry and inventive forms of making. A focus on meaning broadens our audience so making in the arts is empowered to lead efforts in STEAM curricula as a rigorous creative practice.
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part of our everyday lives. Over the past 25 years critical
engagement with digital media has become a part of the art
education curriculum. However, involving art students in
utilizing processing agents as part of studio practice by learning
how to code programming languages is a rare occurrence.
This article advocates for computational thinking as an urgent
need within art education to prepare students to utilize digital
innovations and create code-based artworks. By reviewing
the constructionist origins of computational thinking for art
educational purposes, we posit that creative code can benefit
studio art practice while making broader contributions to
conceptions of computational thinking across disciplines. We
emphasize three concepts to engage in critical digital making
by recognizing code as critical text, code as open or proprietary,
and code as digital material to be performed and acted upon.
part of our everyday lives. Over the past 25 years critical
engagement with digital media has become a part of the art
education curriculum. However, involving art students in
utilizing processing agents as part of studio practice by learning
how to code programming languages is a rare occurrence.
This article advocates for computational thinking as an urgent
need within art education to prepare students to utilize digital
innovations and create code-based artworks. By reviewing
the constructionist origins of computational thinking for art
educational purposes, we posit that creative code can benefit
studio art practice while making broader contributions to
conceptions of computational thinking across disciplines. We
emphasize three concepts to engage in critical digital making
by recognizing code as critical text, code as open or proprietary,
and code as digital material to be performed and acted upon.