I’m reflecting on the speculative aesthetics and experimental aesthetics. A distinction between two. One is associated with philosophy and the other with science. They seem to need each other. Moving from left to right, I gesture on the page as if I’m writing. But there are no words on this paper; there are only the semblance of words. I trace over the first line of marks and in the process notice the confidence of the first marks. There was nothing to follow…they were the first. I repeat the pattern and I’m confronted with a choice. Do I draw slowly and try to trace as close as I’m able over the first lines or, do I let go, draw faster and allow my arm to mark the adjacent territory? To trace the gist? Today, I’ve chosen the latter. Either way, there’s noise. After multiple tracings, the detail of the first markings gradually become submerged. New forms intermingle and become. Feedback: Uncertainty decreases with perception.
June 20, 2009
after reading 1
I am currently a PhD candidate in Education (educational technology specialization) at Concordia University. My approach to research in education is interdisciplinary; I draw upon science and technology studies, the philosophy of technology, the visual and media arts, educational technology, higher education studies and adult education. I am developing a comparative study of articles on MOOCs in popular and academic literature to illuminate constructions of "public" and "private" in debates on technology in education. I hold a Master of Fine Arts (Concordia University 2005) with a specialization in robotic arts. What are the potentials and limitations of technology for learning in the arts? How does the case of the visual arts help us understand the role of emerging technologies for learning among student professor relationships in higher education learning contexts? View all posts by constanzasilva
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