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Mapping Own Practice Against Models of Contextual Practice. Mapping Own Practice Against Models of Contextual Practice. What I do. Professional. Enhancing creativity through the use of digital technologies. Digital Video. Digital still. Animation. Personal. Photography. Input. Output.
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I teach teachers how to make effective use of digital technologies to enhance creativity across the curriculum (but we won't go down that avenue right now)
Photography was in the family. Brother and both parents had cameras; father and brother active amateur photographers with darkroom facilities at home.
Early memories of the walk-in pantry being converted into a darkroom (where did all the food go?) and long strips of film swirling around the bathtub. Sitting in the darkroom under the red light, wanting to be involved with the magical enlarge and print process but probably just getting in the way...
... and at an extrememely significant time - there has been no development like the digital revolution since the arrival of the first 35mm camera
"Constructivism is an emerging view of learning that rests on the idea that new information is added to existing mental frameworks... social Constructivism is based on the assumption that members of a given social network mutually negotiate meanings of ideas and practices." John W. Schell
"Often considered a form of constructivism, transformational learning is based on reflection that transforms the beliefs, attitudes, opinions, and emotions of the learners. Mezirow believes that transformational learning is based on “disorienting dilemmas” or situations that are outside of our usual world views. To resolve the dissonance, the learner must create new ways of interpreting their experiences. This leads to a new self-view and deeper meaning based on insight. Transformational learning encourages, reflection and critical thought, more receptiveness to the paradigms of others, and acceptance of new ideas." John W. Schell
The nature of my photographic practice has changed significantly in the last couple of years as I have begun to consider the ethical and political consequences of street photography especially in the current 'terrorist aware' climate
"The digital camera allows a proximity to material, to skin, to the surface of paint that excels the eye's trained ability to sort and recognise." Matthew Fuller
"Disruptive technologies always work democratically: they allow increasing numbers of people to have access to those things which were previously very rare, expensive, or difficult to produce. Photography allows anyone to own a detailed, realistic picture of anything which can be photographed such as a portrait. Prior to its invention, high-quality portraiture was the exclusive domain of the elites, due largely to the level of technical skill required of painters. Photography "short-circuited" this process. It is no accident that the majority of images from the first fifty years of photography are portraits and other subjects well-known from paintings. In attempting to demonstrate that it was art by imitating painting, photography proved to be the archetypal disruptive technology: it replaced painting by doing what painters did, only cheaper and more often". Michael Betancourt
"According to philosopher Michel Foucault, power and knowledge reinforce each other. Anthropologists wield power over non-Westerners through ways of photo-colonialism. The camera can be seen as analogous to Jeremy Bentham's Panopticon but non-monolithic..." Joyce Tanjuakio
My personal practice is limited to my immediate locality most of the time, with several excursions out of county and occasional trips abroad.
Web-based publishing makes a nonsense of geographical borders - it doesn't matter where you make your images, you can share them across the world