Multitude: War and Democracy in the Age of Empire. Michael Hardt and Antonio Negri. 2004. New York. Penguin Books. 448 pages. ISBN: 0143035592 (paper).

Multitude: War and Democracy in the Age of Empire

Memory is often embodied in objects--memorials, texts, talismans, images. Though one could argue that such artifacts operate to prompt remembrance, they are often perceived actually to contain memory within them or indeed to be synonymous with memory. No object is more equated with memory than the camera image, in particular the photograph. Memory appears to reside within the photographic image, to tell its story in response to our gaze.

Tangled Memories: The Vietnam War, The AIDS Epidemic, and the Politics of Remembering.

Senior producer, programme manager, controller, organizer or director, the producer's boss comes in a wide range of guises and titles. His or her essential job is not so much to make programmes as to make programme makers. Whether responsible for a programme strand, a station or a network, this senior editorial figure is there to listen to the output and provide feedback on it to the producers. A handwritten note left on the producer's desk – a habit of former BBC Managing Director of Radio, David Hatch – is particularly effective. This head of programmes will also lead the programme meetings, where there is a systematic discussion of the output – there is more detail on this procedure in the next chapter. The purpose of this is continual improvement through professional encouragement and evaluation, critique, discussion of ideas, programme development, and so on. Without this, the output stagnates.

The executive producer

tion. The author argues that all the activity suggests that visual culture is now an art educational paradigm, though the great divergence of practice and understanding sug gests it is a name only. Evidence suggesting the current paradigmatic nature of visual culture includes the number of publications and conference presentations on visual culture; reports ofcUssroom activity; robust debate among proponents; outside criti cism; and a sense that for many it has become naturalized as part of their accepted practice. At the same time the great divergence among this activity includes employing the term as though it continued primarily to mean traditional art forms and practices; only superficially related to popuUr culture; idea development without any specific content; a dialogic and critical inquiry pedagogy; an exclusive focus on deconstruction; deconstruction of one media and response in another media; and, finally, practices that emulate media education. The author concludes by chiming that visual culture in art education remains a work in progress.

https://www.jstor.org/stable/pdfplus/20715488.pdf

Visual Culture in

A/r/tography is a form of practice-based research steeped in the arts and education. Alongside other arts-based, arts-informed and aesthetically defined methodologies, a/r/tography is one of many emerging forms of inquiry that refer to the arts as a way of re-searching the world to enhance understanding. Yet, it goes even further by recognizing the educative potential of teaching and learning as acts of inquiry. Together, the arts and education complement, resist, and echo one another through rhizomatic relations of living inquiry. In this article, we demonstrate rhizomatic relations in an ongoing project entitled “The City of Richgate” where meanings are constructed within ongoing a/r/tographic inquiries described as collective artistic and educational praxis. Rhizomatic relations do not seek conclusions and therefore, neither will this account. Instead, we explore a/r/tographical situations as methodological spaces for furthering living inquiry. In doing so, we invite the art education community to cons...

/pdf/the-rhizomatic-relations-of-a-r-tography-58lbtpcdtk.pdf

The Rhizomatic Relations of A/r/tography.

In this article, the author argues that visual culture is an essential direction for contemporary art educators who are committed to examining social justice issues and fostering democratic principles through their teaching. The study explores how visual culture education can empower students to perceive and meaningfully engage in the ideological and cultural struggles embedded within the everyday visual experience. The author examines the work of resistance theorists and socially engaged artists, including culture jammers, in an effort to support and inform the teaching and learning of visual culture. The study concludes with an investigation of cultural production as a pedagogical strategy within the visual culture classroom for generating and facilitating student awareness, understanding, and active participation in the sociocultural realm.

/pdf/visual-culture-jam-art-pedagogy-and-creative-resistance-ts0e440vpx.pdf

Visual Culture Jam: Art, Pedagogy, and Creative Resistance

I t was th e beginning of a new school year a nd our principal was busily recit ing he r "Welcome to your first day of high school" spe ech for t he fresh batch of eighth graders. Thestudents had spent their morning touring the school and were now sitting in the auditorium, waitingto be dismissed to theirhomeroom teachers.Asthe principal began a rather uninspired explanation of locker assignments and general hallway etiquette, a boy in the fifth row stood up and, with surprising intensity, yelled out "CHINK " at the top of his lungs.The eighthgraders, clea rly shocked bythe interruption, responded by quickly turning their heads in sea rch of theoutburst. Al most immediately, a second student stood up near the back of the auditorium and yelled out "FAGGOT" with equal vigor, This initiated a succession of additional students, who each rose and expelled a seriesofdifferent, butequally discriminatory, slurs.Just as the disruptionreacheda fe vered pitch, a secondgroup of 15 students stood up in unison and with arms outstretched, roared, "STOP' " .\ fln ;lll dn·t rilll 'd IMIN ·. ;111 .!" ~tlldl'll\S 111\'11 mOH 'd in vik-nc-e ltl lhl ' trom of III\' audnonum alld jo inl>tll ll\' p rincipa l 0 11 lhl' sta~l" ..\ S rfuindividual student m,'m lli: rs "flll,' ~ru\lr prollTdnl to uurod un ' lhl"msdn-s hy nal11 l". lhq also each symlli ,IiGllly n: nu l\n l laf):l" dl"rugat"ry I;llw ls thaI l\;Id been ;lfliM'd promil1l' lIlly 10 Ihd r d"thing,'l1w ~1Udl'l1h l"xpLlinl"d Ilwy \\ enpart " I'a gruw ing 111' '\TllI,'1ll "r sl ulil"ms :Illd t" ;ld w rs (indud ing t he p rilK il):II' ) at the h igh .... ·h",,1 who \-\'l'n: dlOo~ i llg to stand up ;lga i n~t hare and \'i"kun ",T1ll"y invited the e ighlh g rJl k rs 10 [nin rhcrn up 011 the sta gr.: , wlu-nth q rhcn ~plit ttl' int .. sm;1I1 "I, ,,,:[[s gruups" fur an 0 lli:n lli ~l: Il ~~io li alxnn d i....-rtnnnalion. hll llying , an d \'ioklll"l".l TIll' s.:n ior studnu s rlT o rd n l the.... · n>llH' rs;ui"ns and late r Il ~l'd them to inspifl' nniltimcdia ; l rl w"rk ~ disl)I;lynl within tlu....·h"ol.

Art Education for a Change: Contemporary Issues and the Visual Arts

This article examines the culture wars in the United States and considers their impact on the field of art education. Stretching across virtually ever facet of contemporary culture, these ideologic...

/pdf/the-art-of-culture-war-un-popular-culture-freedom-of-23dmo3tkmq.pdf

The Art of Culture War: (Un)Popular Culture, Freedom of Expression, and Art Education

In this article we explore two urban interventions art projects in the public sphere designed by our Masters’ students at New York University as they set the stage for a discussion on how urban art interventions can function as a form of critical public pedagogy. We argue that these kinds of public art projects provided a space for dialogue with people on the streets about the increased corporatisation of the public sphere. This kind of urban interventionism, we believe, is needed in art education today, as the public sphere is increasingly being eroded by private interests and it is only by reclaiming the public sphere that we can develop a cultural politics that in turn renews our democracy.

Interrupting Everyday Life: Public Interventionist Art as Critical Public Pedagogy

This study examines visual dimensions and pedagogical repercussions of the war of terror Iconographies of threat and prophylaxis are explored through a discussion of the actuarial gaze and the terr(or)itorialization of the visual field Specific visual culture fallout from the war of terror is examined, including artistic responses and educational (ir)responsibilities and possibilities Technologies of forgetting and artistic and pedagogical strategies of remembering are also considered The essay concludes with an examination of implications and possible future directions for contemporary art education in a post-9/11 world

David Darts

Papers

Visual Culture Jam: Art, Pedagogy, and Creative Resistance

Art Education for a Change: Contemporary Issues and the Visual Arts

The Art of Culture War: (Un)Popular Culture, Freedom of Expression, and Art Education

Interrupting Everyday Life: Public Interventionist Art as Critical Public Pedagogy

Scopic Regime Change: The War of Terror, Visual Culture, and Art Education.