Part 1 – A Pedagogy Grows in the Studio
Use of mobile applications in contemporary art practice has become more widespread as technology advances. Some well known artists such as Cindy Sherman, John Baldessari, Brian Eno and Yoko Ono have all developed their own apps. Given that my philosophy of pedagogical concerns in the arts is inextricably linked to my personal studio practice, it is important to explore what applications myself and my peers are using in the studio and asking how those apps can be adjusted to educational purposes. This approach brings to mind what Sharples et al (2009) refer to as the “unpredictability of the mode of use” which refers to when “the way people adopt learning technologies does not coincide with the designer’s intent” (p.239-240). It is through this lens that I examined a 2018 article on format.com (https://www.format.com/magazine/resources/art/best-creative-apps-for-artists) that asked a handful of contemporary artists what apps they use in their studio practice. In particular, Instagram was a common reference. Jenny Kroik, an illustrator, says, “ On my phone, I use Instagram a ton. Too much, maybe. It’s not really to make work, but it helps with the process to crop and edit, and I use it as a lab to see how people react to different things I am trying”. Nick Prideaux, a photographer, called for a refinement of the Instagram model, “I very much have a love/hate relationship with Instagram. I’m equally obsessed and depressed using it. For a photo-sharing app, it is a wonderful service; but I would love to see an app that focuses more on the act of photography, as opposed to the obsequious curation of a lifestyle. I’d love to see the film community of photographers create their own network through something new and different”. My use of Instagram in the studio aligns with these two views. I rarely use Instagram to create new work, but I do utilize the community building affordances of the app for critique, connection and marketing. Though I haven’t created my own application like some of the well-known artists mentioned above, my final project aims for that goal. In its final iteration, the app should also reflect my aesthetic and studio practice. However, creating an application from scratch that reflects my studio practice and seamlessly integrates into more formal educational settings is no easy task. The alternative is to invoke the “unpredictability of the mode of use” introduced by Sharples et al (2009, pgs.239-240) by utilizing existing art making and social media apps being used in my studio and the studios of other contemporary artists in order to create a functional M-Art Education experience.
Part 2 – From Sharpies to Sharples: Learning to Draw with Mobile
The 2018 research study by Chananchida et al.,M-learning for the Art of Drawing: Informal Learning for a Digital Age (2018) serves asan example of how my final project might fare when integrated into a classroom setting. “In the art world, M-learning is also being explored, and as students can be connected to their teacher from anywhere in the world, there is no longer the need for a physical studio to learn the magic of art” (Chananchida et. al., 2018, pg. 153). Though this is true, I would argue that any M-Art Education initiative should mimic the authentic “look and feel” of a real art studio practice. As Kearny et al. (2012, pg. 10) describe, “Factual authenticity refers to how details of a task (such as characters, instruments etc.) are similar to the real world, while a process level of authenticity refers to how learner practices are similar to those practices carried out in the community or ‘real world’ of practice”. The research study of Chananchida et al. “consisted of a step-by-step process to study M-learning components that are consistent and supported in a digital age, while learning the art of drawing. Further research was undertaken in the development of ‘eportfolios’, and which methods and technologies are best for their collaborative use” (2018, pg.156). The study identified numerous existing apps that were designed to be used for drawing on a Mobile device. In particular, they highlight E-sketchbook for use in the drawing portion of the initiative. And for creating “eportfolios” they reference Facebook and You-Tube. They surveyed 19 experts from the professional art community about the experience. Their comments included, “M-learning concept by use of the Internet was a good channel and choice for beginners to learn the Art of Drawing with the application. In drawing, there are a variety of methods for the medium of art, such as pencil or oil, as well as equipment, but in the digital world there is a great savings to the physical art world’s costs” (Chananchida et. al., 2018, pg. 161). They noted, that YouTube was effective as a conduit for lessons. Also, “Facebook is another area to collect content in the art of drawing, is connected to YouTube, and can be used as a channel for communication between students and instructors. It also acts as a gallery or online ePortfolio for students who can present their work and exchange ideas, suggestions, and techniques” (Chananchida et. al., 2018, pg. 162). Like wise, “the course participants indicated that digital tools such as PDAs and smartphones greatly assist in the process of learning art drawing informally. It makes the process easy to start, with the quality not differing from the art supplies used in a studio” (Chananchida et. al., 2018, pg. 163). These results taken together indicate that Sharples et al. (2009, pgs.239-240) notion of “Unpredictability of the mode of use” coupled with Kearny et al (2012, pg. 10) notion of “factual authenticity” could lead to a successful M-Art Education initiative.
Part 3 – Predicting the “Mode of Use”: Instagram in the Classroom
A 2016 Concordia University research study examined the effectiveness of integrating Instagram into the curriculum. “Participants were loaned an iPod Touch and took part in a semi-private Instagram group in which they could communicate with each other, see each other’s photos, share images and comment on what they saw”(www.sciencedaily.com/releases/2016/08/160831143208.htm). The students were assigned to take and share photographs that responded to the question, “How would I make this neighborhood better?” The most interesting takeaway from this study was “that participants were first of all concerned with technical and aesthetic issues related to image making, which then led many of them to consider issues related to civic engagement” (www.sciencedaily.com/releases/2016/08/160831143208.htm). This has implications for my final project as I intend my M-Art Education initiative to invoke engagement with social issues. According to this observation, my final project should lead with the art and allow the societal commentary to follow. Biesta (2017, pg. 44), suggests, “(t)he act of showing – which is always an act of someone showing something to someone – indicates that there is something to see and more specifically that there is something that is worth seeing”. In other words, within the art that is being shown lays the thing that is to be taught and by extension learned. I highlight this particular part of the study because I have already successfully integrated Instagram into a classroom setting. (The results can be seen here, https://sites.psu.edu/lancerautzhan/2018/03/15/aed-815-exploration-4-layered-analysis-part-2-a-day-in-the-life/) And so, having already proven that “the mode of use” can be predicted if presented correctly, the decision that must be made in terms of my final project is: Do I build a new application or manipulate “the mode of use” of several existing applications? There are arguments for both. As I realize that this final blog post is a time to collect some conclusive feedback from course mates, I pose this question to any or all of you…what path should I take?
References
Biesta, G., (2017). Letting Art Teach. Art Education ‘after’ Joseph Beuys. Arnhem: ArtEZ Press.
Chananchida, Y., Apisak, S., & Krissana, K., (2018). M-learning for the Art of Drawing: Informal Learning for a Digital Age King Mongkut’s Institute of Technology Ladkrabang, Bangkok, Thailand iJIM ‒Vol. 12, No. 5.
Concordia University. (2016, August 31). Mobile media, visual art making boost school engagement. ScienceDaily. Retrieved from www.sciencedaily.com/releases/2016/08/160831143208.htm
Jurgens, G. (2018, February 14). The Apps Artists Use to Boost Creativity and Get Work Done. Retrieved from https://www.format.com/magazine/resources/art/best-creative-apps-for-artists
Kearney, M., Schuck, S., Burden, K., & Aubusson, P. (2012). Viewing mobile learning from a pedagogical perspective. Research in Learning Technology, 20(1), 1–17.
Sharples, M., Arnedillo-Sánchez, I., Milrad, M., & Vavoula, G. (2009). Mobile learning: Small devices, big issues. In N. Balacheff, S. Ludvigsen, et al. (Eds.), Technology-enhanced learning: Principles and products (pp. 233–249). Springer.
Hi Lance,
I really enjoy your final post! The idea of “unpredictability of the mode of use” (Sharples et al., 2009) in mobile learning is interesting and it’s something that I haven’t thought of; and I think that’s reality. Learners’ interaction with the designed tool or activity is not always easy to predict because education in real-world settings is often messy and involves complex variables in play. Sometimes the interaction might not meet the designer or educator’s intent, but I think being able to bear with it and tailor to the real situations makes successful mobile learning experiences. Like what you said, designing a new application that predict the mode of use correctly is not an easy task, perhaps adapting existing applications would be a good start to making a particular tool’s mode of use more relevant to learners’ needs and experiences.
I also like how you relate to “factual authenticity” (Kearney et al., 2012) when developing your final project. It does not seem like an easy task though. I am interested in seeing how real art studio practice can be provided to learners through mobile technologies. I’ve always enjoyed how you integrate readings with your project and experiences!
It is also interesting that you have the social issue component in your project. As I am also focusing on youth civic engagement and community development, I look forward to seeing how your project unfolds! Our projects seem relevant in some ways.