Expanding from the Small Screen – Arts Practice for Affective Digital Presence

Matthews, Miranda

doi:10.1111/jade.12359

Cited by 5 publications

(4 citation statements)

References 20 publications

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“…She describes how these zones of conflict and change present both challenges and opportunities through the creation of new liminal spaces as practice moves from the art gallery and studio into the digital realm and virtual imagined spaces. She invites us to find comfort in the discomfort, to celebrate the possibilities of a hybrid online practice and to explore the potential of the ‘affective turn’ within these liminal spaces to connect to share, to feel and to respond (Matthews 2021). Despite our initial discomfort and fear at having to move our learning programmes online, we worked together to find ways to overcome the challenges we faced.…”

Section: Discussionmentioning

confidence: 99%

Challenges and Opportunities: Creative Approaches to Museum and Gallery Learning during the Pandemic

Noble¹

2021

Int J Art Design Ed

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During the pandemic many museums and galleries pivoted from onsite, in‐person delivery to develop a remote offer and to create digital learning resources and activity packs for children and young people. In this article, I draw upon my experience as practitioner researcher on the schools and teachers’ programme at the Fitzwilliam Museum to consider different approaches to supporting participatory creative pedagogies while the museum was closed. After discussing how the work built on and extended existing programming for this audience, I consider effective strategies for facilitating authentic and inclusive encounters with objects and artworks remotely. While some were empowered to take part and to engage, others were locked out through the ever widening social and digital divide. How can we overcome these challenges and make the most of the opportunities which this work has revealed? What are the implications of this work for our understanding of the role, function and future of museum and gallery learning?

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Section: Discussionmentioning

confidence: 99%

Challenges and Opportunities: Creative Approaches to Museum and Gallery Learning during the Pandemic

Noble¹

2021

Int J Art Design Ed

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“…If we are to make use of the best of millennia of thinking about how we can best support and develop society, our learning and social strategies are called upon to build pedagogies that nurture, care and include. Initiatives such as Isolation Art School, the NSEAD Life after Lockdown project and the Centre for Arts and Learning's Finding Comfort within Discomfort research project (Matthews 2021), have found ways of forming structures for support and sustenance. The creative organisation of social protest has also demonstrated the strength of care for minority groups, as the mass movement Black Lives Matter calls out the need for the privileged white global minority to care more about equality for people of colour.…”

Section: Section 3: Resistant Collaborative Pedagogiesmentioning

confidence: 99%

“…Creative 'warm up' exercises are used in many fields: singers and athletes do warm up exercises, to keep a supple flow in practice. In the visual arts we set ourselves tasks such as drawing with the non-dominant hand and freely moving away from preconceived ideas (Matthews 2021). Therefore, it did not matter if the audience had done the same exercise beforeand this time it would be with a different form of attention, and different collective questioning processes.…”

Section: Section 4: Miranda's Part Of the Workhop: What Why Howmentioning

confidence: 99%

Affective digital presence: How to free online writing and drawing?

Gilbert

Matthews

2021

Journal of Writing in Creative Practice

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Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students, trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect to be expressed in a safe but emancipatory learning architecture.

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“…Arts educators and students might think of John Dewey's ‘learning by doing’ laboratory schools in their pragmatic approaches (Sadovnik et al. 2017), the introduction of strangeness that Rancière discusses (Rancière 2010; Matthews 2021), the re‐enchantment of everyday life encountered by Bennett (2001), or the intersectional approaches of Collins to the remarkable and wonderful protest interventions of art practice (2019).…”

Section: Introducing the Daily Extraordinarymentioning

confidence: 99%

Arts Practice as the Daily Extraordinary: A Philosophy of Inclusivity

Matthews

2024

Int J Art Design Ed

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To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the ‘daily extraordinary.’ A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.

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Expanding from the Small Screen – Arts Practice for Affective Digital Presence

Cited by 5 publications

References 20 publications

Challenges and Opportunities: Creative Approaches to Museum and Gallery Learning during the Pandemic

Challenges and Opportunities: Creative Approaches to Museum and Gallery Learning during the Pandemic

Affective digital presence: How to free online writing and drawing?

Arts Practice as the Daily Extraordinary: A Philosophy of Inclusivity

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