Session Information
13 SES 03, Long Paper Session
Long Paper Session
Contribution
In line with Patricia Pisters’ argumentation in The Neuro-Image we interpret our contemporary society as a digital screen culture, in which a multiplicity of screens surrounds us and offers us new modes of relating to the world. More and more we experience the world through screens. We frequently alternate between the role of spectator of moving images, creator or cameraman of an audiovisual event and actor who appears before a camera lens. Recent publications indicate that the educational field is responding to this digital screen culture. It is very difficult, however, to grasp this response, as it seems it is as fragmented as the subject it tries to address. Contemporary screen culture is being discussed through a variety of themes such as the concept of subjectivity in relation to computer games, exploration of visual learning objects as pedagogical tools, social constructivism applied to online social media, the use of mobile devices in the classroom, mobile social video application, the effects of video streaming on educational achievement, digital filmmaking in the classroom … Allow us to summarize these themes as being examples of digital learning, which is a concept related to the development of a 21st century knowledge society and constructed to foster creative competences and innovative skills in a rapidly changing, digital world.
We wish to focus on educational theories and explorations that construct a particular idea of educational praxis regarding screens and youth culture. We explore how educators explicitly or implicitly deal with the screenager, the youngster who grows up within a reality immersed with screens, technology, online social networks, sound and (moving) images. The screenager has a certain knowledge not necessarily acquired in school, but related to television, computers, cell phones and tablets and the experiences through these devices. Many theorists therefore explore networks like Facebook, YouTube and MySpace and the daily praxis of youngsters in virtuality and invite educators to respond towhatyoungsters are already doing by themselves, by somehow incorporating the use of technology and the social praxis that follows from this in the classroom, or more broadly, in the curriculum. We share this interest, specifically related to the audiovisual or cinematographic aspect of these experiences. We believe experiences of online videos or self-made films for example, have an educational potential or are at least indicative that audiovisual experiences can open up the discussion what education nowadays is or should be about, in general but also specifically in relation to the digital world.
Method
Expected Outcomes
References
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