Call for papers:

‘Digital technologies and educational integrity’

A special issue of the online refereed journal IJEI

Edited by Chris Moore and Ruth Walker

University of Wollongong

This special issue of the International Journal for Educational Integrity (IJEI) seeks articles that address the impact of digital technologies on educational integrity. Many different terms have emerged in an attempt to capture the shifting terrain of media use and users in various networked environments: ’social’, ‘participatory’, ‘user-generated’ or simply ‘new’ media. Common to the online interactive spaces of Web2.0 is the challenge of technologies and practices that are capable of changing the way we teach, learn, and share knowledge. How can we best engage and support students and colleagues coming to terms with the dynamics of these technologies and the development of new literacies?

We are particularly interested in innovative research from scholars in cultural and media studies and/or the scholarship of teaching and learning, and welcome interest from other disciplinary researchers, who might consider a broad range of questions about digital technologies that critically unpack the conversation about academic integrity and go beyond a preoccupation with plagiarism and research ethics. Critical voices of concern, examples of best practice and consideration of the perceived impact of digital technology on institutional boundaries are keenly sought as is research exploring the collaborative approaches to social and participatory media that challenge conceptions about authorial identity and scholarly writing practices. Research examining the development of new literacies that celebrate the appropriation, adaptation and transformation of source material would fit well within the scope of this special issue. We also welcome reviews of relevant books or publica tions.

Abstracts (max 500 words) due date: 31st March 2010 Full papers (3-6000 words) due date: 1st July 2010 Book reviews (1000 words) due date: 1st September 2010 Special issue release date: December 2010

Please send all enquiries and abstracts to the editors at ruth_walker@uow.edu.au.

Submission style guide:

http://www.unisa.edu.au/EducationalIntegrity/Journal_submission_guidelines.htm

About the editors:

Chris Moore is a father, gamer and lecturer in Digital Communications, Games and Media Studies at the University of Wollongong. Currently researching Australian gamers and their cultural, economic and social contributions, this focus has emerged from analysis of the complementary and alternative regimes of intellectual property generation and management, including the Open Source movement and digital games modification sub-cultures and online learning practices.

Ruth Walker teaches a range of academic writing programs in the Faculties of Creative Arts and Law at the University of Wollongong. Her research interests take a cultural and media studies approach to academic integrity, particularly regarding the impact of media technologies on critical writing practices. She is currently the deputy chair of the Asia Pacific Forum for Educational Integrity (APFEI).

http://forum.lefnet.org/

Introduction

The primary goal of this presentation is to introduce the Leonardo Education Forum’s (LEF) aims, international activities and the contributors with a view to involve experts as well as the public to engage in a discussion in anticipation of future interaction.

LEF is an active community of over 100 members, growing annually. We have close to thirty international representatives in so many countries.

more>>

Federation Theatre
Victorian College of the Arts, Melbourne
Wednesday, 26th November, 2009

The LEF workshop was conducted as part of the Re:live Media Art History 09 conference held in Melbourne, Australia, from the 26th to the 29th November 2009.  The 2009 Forum was focused around three strategic themes:

1) The role of research in media art, science and technology

2) The role of curricula: Mapping the terrain.

3) The role of institutions: Institutional/Organisational capacities and benchmarks.

Three working groups discussed these items separately after focused, introductory presentations by Oliver Grau, Ross Harley and Ian Clothier respectively.   Summaries of the outcomes of these working groups, as well as the presentations, have been tabled separately.  The following summary was complied by Darren Tofts and constitutes a series of concentrations of key themes, priorities and ideas developed during the day, rather than a summary of resolutions and outcomes.  These will be addressed in the specific group summaries.

A common theme of the “need for a network” emerged in preliminary remarks by both Nina Czegledy and Oliver Grau.  This theme emerged in response to the shared feeling of a loss of momentum and consolidated international engagement with respect to media art and media art histories.  The idea of a network presumed the development of key goals with respect to an educational forum, a research platform for discussion as well as vision and leadership.  In this respect Paul Thomas’ and Jeremy Blank’s reports on the status of the Australian-focussed NOMAD (National Organisation of Media Arts) and MASS (Media Arts Scoping Study) projects represented important, exemplary initiatives to be benchmarked internationally.

Oliver Grau asserted that it is not self-evident that media art “needs histories and archives”.  This cautionary point was made with respect to his concern that despite that fact that media art is the “art of our time”, it still struggles to be exhibited in mainstream art institutions.  The concern shared by all members of the Forum was that media art had not yet arrived on to the international scene as a vital and conspicuous branch of contemporary art.  Oliver argued that we “still need” to integrate media arts into culture.  This was reinforced by Ross Harley who characterized media art as a cultural “outsider”.

This led to the question of the space of media art; where is it to be situated/where is it best situated? Ian Clothier adopted a vectoral approach to thinking about its situatedness, describing it as “within, between and beyond the art institution”.  Ian talked of the need to specialize art institutions for the presentation of art (on the model of the initial vision of the Australian Centre for the Moving Image in Melbourne; however as Darren Tofts had commented, ACMI had increasingly moved away from prioritizing media art work as part of its curatorial mission.  When such work is exhibited, it is usually situated as a sub-branch of the moving image).

The idea of a network of media art historians, academics, practitioners, curators and dedicated funding bodies emerged as the strongest theme of the Forum.  This idea hinged on the condition of networks being of necessity decentred, as well as the caution that they must not be disconnected.  Darren proffered the motto of “decentred but not disconnected” as a motif for future thinking on the idea of an international network galvanized around media art.

Some of the factors and constituencies essential to such a network were identified in the three plenary papers by Oliver, Ross and Ian: the integration of research, University curricula and other forms of expert and popular knowledge, the role of dedicated publishing, criticism and review, exhibition and curatorial policy.  The importance of institutional support, governance and mentoring was discussed, but the question as to which ones were appropriate and necessary was seen to be open-ended.  One key question emerged from Ian’s presentation: are there as yet unfamiliar, unexpected or emerging institutions to be considered?  The emphasis on galvanizing these key factors was underlined by Ross in his presentation.  Darren made the point in his summation of the day that what Ross had identified as the “meshing of research, educational and institutional imperatives” is exactly what Julianne Pierce had described in a 2001 issue of Artlink devoted to the evolution of media art as an “active circuit”. [1]  This, too, became a working motif for the Forum for the way forward.

Darren Toft

[1] Julianne Pierce, “An active circuit”, Artlink, 21, 3, September 2001, p.14. The other thing of interest with respect to Pierce’s observation is that her commentary was looking back at a previous issue of Artlink published in 1987 devoted to art and technology. For Pierce, this historical perspective was crucial in thinking about the “current Australian art and technology scene” (14).

Dr Darren Tofts
Professor of Media & Communications
Faculty of Life & Social Sciences
AS423
http://darrentofts.net/
92148441
Mail H31
Swinburne University of Technology
John Street, Hawthorn, 3122
Victoria, Australia

Conference refereed proceedings

Conference chairs: Dr Paul Thomas, Professor Sean Cubitt

> Leonardo Education  and Art Forum co chair Victoria Vesna and Leonardo Executive Editor Roger Malina are interested in examples of courses and curricula that are in the art-science field  such as courses on art and biology, art and mathematics, art and chemistry, art and environmental sciences etc.

New Media Based Art and Educational Organisations, Groups, Conferences, Labs:

ACE

ANAT

Ars Electronica

Art De Com

Art Education 2.0

Art Science

Art, Science, and Technology

Artec Lab

Artists in Labs

Arts Lab

Artsactive,net

We are delighted to report that the Leonardo Education Forum (LEF) continues its successful international education event-initiative and correspondingly we hope you join us at the public sessions scheduled at the forthcoming Media Art History Conference Re:live 09.

If you are interested in attending the Leonardo Education Forum workshops, which is carrying on from the excellent work done at the International Symposium of Electronic Art in Belfast and Ars Electronica towards the further development of an educational policy paper, please contact us.

LEF@Re:live2009

November 26, 2009

Faculty of VCA and Music, University of Melbourne Campus Map Melbourne, University of Melbourne, 234 St Kilda Road, SOUTHBANK Victoria 3000

10 00 am Welcome

Su Baker, Associate Professor Art, Head of School, Faculty of the VCA and Music, University of Melbourne

Nina Czegledy LEF co-chair, Senior Fellow, KMDI, University of Toronto, Adjunct Associate Professor, Concordia University and  Dr Paul Thomas, Australian representative for LEF, Co chair Media Art History Conference, Re:live 09, Director Centre for Research in Art Science and Humanity Curtin University of Technology, Perth, Australia.

10.10 am Nina Czegledy LEF co-chair presents LEF international initiatives & Policy Papers

10.30 am Dr Paul Thomas and Jeremy Blank will report on the Australian national media art scoping study.

11.00 am Reports from delegates on LEF@ISEA - Ars on the three themes

11.15 am Professor Oliver Grau,, Chair for Image Science, Head Department for Cultural Studies

DANUBE UNIVERSITY, Krems, AUSTRIA

11.30 am Professor Ross Harley, Head of School, Media Arts, Acting Associate Dean Research, College of Fine Arts, University of New South Wales, Paddington, Australia

11.45 am Professor Ian M Clothier, Faculty of Art, Commerce and Technology, Western Institute of Technology at Taranaki, New Zealand, Director: Intercreate.org, SCANZ2006 & 2009

12 pm lunch

1.30 - 3.00 pm  Working groups focus:

1. The Role of Research in media art & science & technology

2. The role of Curricula: Mapping the terrain

3. The role of Institutions: Institutional / OrganizationalCapacities and Benchmarks

3.00 pm summary by session chairs

The Role of Research in media art & science & technology

Working group leader: Oliver Grau

The role of Curricula: Mapping the terrain

Working group leader:  Ross Harley

The role of Institutions: Institutional / Organizational

Capacities and Benchmarks

Working group leader:  Ian Clothier

Working group co-leaders to be announced.

3.15pm - 4.30 pm Resolutions and outcomes Paul Brown

(With refreshments.)

Please feel free to circulate.

Contact/Organizers: Nina Czegledy <czegledy@interlog.com>

Paul Thomas p.thomas@curtin.edu.au and Julian Stadon <j.stadon@curtin.edu.au>

• Julian Stadon

http://filter.anat.org.au/digital-archiving-for-the-evolution-of-new-media-art/#more-2404

Garth is particularly fascinated with sound as an experiential medium, both in musical performance and as an exhibitable object. This passion has led to several interactive responsive environments where the inhabitant generates the sonic landscape through their presence and behaviour.

garithpaine

http://mass.nomad.net.au/wp-content/uploads/2009/08/RossHarley.MP3