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Afterword: Towards a variantology of hands-on practice
Early Popular Visual Culture Pub Date : 2020-01-02 , DOI: 10.1080/17460654.2020.1763635
Lori Emerson 1
Affiliation  

The essays in this special issue offer us compelling and inventive pedagogical strategies for effectively transporting artefacts and technological media from the past to the present and even for transporting our experiences of contemporary media from the present to (the recreation of) a possible experience in the past. In short, these strategies are relevant for any scholar working with technological media in a historical register from within any field and any time period. From Meredith Bak’s details of her playful media archaeological experimentations with optical toys in the classroom to Peter J. Bloom’s delving into the vectors of meaning that emerge from juxtapositions of media artefacts in collections, Christina Corfield’s account of paper-based reconstructions of optical devices, Robby Gilbert’s narrative about how he reveals the mechanisms behind the illusion of movement by excavating basic principles of movement and time in the zoetrope, and Gert Jan Harkema and André Rosendaal’s argument for the importance of classroom activities that rely on touch via Virtual Reality as a way to teach film, all provide us with ways to give students or, broadly speaking, users an alternate access point to history other than through more well-worn methods of narrativization via text or images. Also implied in all these pieces, and sometimes stated explicitly, is an argument not just for teaching as integral to – if not an extension of – research and creative practice but also for the longstanding importance of hands-on work to the entire ecosystem of higher education. Hands-on work generates insights for research and facilitates teaching and learning for both instructor and student. In fact, the benefits of hands-on work are so clear that one cannot help but wonder how it is that higher education, which has had scientific laboratories in its midst for nearly two hundred years, continues to allot only a relatively small number of disciplines the space and infrastructure for hands-on work. No doubt part of the reason why the arts and humanities must continue to argue for the importance of doing materially grounded and embodied teaching and research comes from these disciplines’ longstanding identification with the practice of hermeneutics and close reading, both of which have, rightly or wrongly, come to be seen as agnostic tomedium and materiality. Perhaps another reason is the still-lingering perception of the gulf that exists between ‘the two cultures’; in other words, it is possible that the perceived divide between the arts/humanities on the one hand and the sciences on the other has not been so much about, as C.P. Snow famously put it in 1959, the different cultures of each, but about the perception that some disciplines ‘practice’ while others theorize (Snow 2014). Whatever the

中文翻译:

后记:走向实践的变体

本期特刊中的文章为我们提供了令人信服和创造性的教学策略,以有效地将文物和技术媒体从过去转移到现在,甚至将我们对当代媒体的体验从现在转移到(再创造)过去可能的体验. 简而言之,这些策略与任何领域和任何时间段内在历史记录中使用技术媒体的任何学者都相关。从梅雷迪思·巴克 (Meredith Bak) 在课堂上对光学玩具进行有趣的媒体考古实验的细节,到彼得·J·布鲁姆 (Peter J. Bloom) 对收藏中媒体人工制品并置所产生的意义向量的深入研究,克里斯蒂娜·科菲尔德 (Christina Corfield) 对基于纸张的光学设备重建的描述,罗比·吉尔伯特 (Robby Gilbert) 讲述了他如何通过在 zoetrope 中挖掘运动和时间的基本原理来揭示运动幻觉背后的机制,以及 Gert Jan Harkema 和 André Rosendaal 的论点,即通过虚拟现实作为一种方式依赖触摸的课堂活动的重要性教电影,所有这些都为我们提供了给学生或广义上的用户提供历史的替代访问点的方法,而不是通过更陈旧的文本或图像叙事方法。在所有这些文章中还暗示,有时甚至明确表示,一个论点不仅认为教学是研究和创造性实践不可或缺的——如果不是研究和创造性实践的延伸,而且还认为实践工作对整个高等教育生态系统的长期重要性。教育。动手工作为研究提供见解,并促进教师和学生的教学和学习。事实上,动手工作的好处是如此明显,以至于人们不禁想知道,在其中间拥有科学实验室近 200 年的高等教育如何继续只分配相对较少的学科动手工作的空间和基础设施。毫无疑问,艺术和人文学科必须继续争论进行物质基础和具体化教学和研究的重要性的部分原因来自这些学科长期以来对诠释学和仔细阅读实践的认同,两者都正确或正确地或错误地,被视为不可知论的媒介和物质。也许另一个原因是对“两种文化”之间存在的鸿沟的看法仍然挥之不去。换句话说,一方面艺术/人文学科与另一方面的科学学科之间的感知鸿沟可能并不像 CP Snow 在 1959 年所说的那样,是关于每个人的不同文化,而是关于某些学科“实践”而其他学科理论化的看法(Snow 2014)。不管是什么
更新日期:2020-01-02
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