Texas Trends in Art Education, 2010 Page: 30
This periodical is part of the collection entitled: Texas Trends in Art Education and was provided to The Portal to Texas History by the Texas Art Education Association.
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[Conclusion Engaging with culture requires liter-
acy that is multimodal, involving a
wide array of representational devices. The purpose of this
pedagogical interface with technology was and is to illustrate
how texts are not just passively consumed but are productive to
people's lives. Art educators and educators in general should be
engaging students in these types of cultural interactions as a
way to produce meaning from texts, building connections be-
tween history, current events, and popular culture. An under-
standing of the layers of meaning behind any text allows for
multiple associations and interpretations to take place. Our in-
tention then is to facilitate a critical form of literacy or under-
standing of the world that displays the visual and verbal through
hypermedia investigations. It becomes a form of cultural remix-
ing, a sifting through the fragments to find cultural patterns,
with teacher and student reassembling those patterns. The po-
tential for new understandings derived from student/teacher
interactivity is exponentially increased by the creative integra-
tion of technology into classroom instruction. VUE, and similar
software programs, further this active form of knowledge con-
struction through the ability to quickly shift between texts, im-
ages, words, videos, audio, and any other sensory experiences,
making it easier for teacher and student to find interdisciplinary
connections amongst art, literature, science, math, and history.
When using hypertext, a seemingly small idea can become a
complex network of systems that are inter-connected with each
other. It is not necessary that the teacher or the student know
every detail of the destination, because there is no "end" to the
formation of a hypertext. Students and teachers work collabora-
tively and share their knowledge and experiences that then be-
come documented. Classroom conversations become visually
represented and acted out. Student and teacher are able to re-
trace the process of learning, further reinforcing the concepts
discussed in class. Begin with a work of art, a sentence, a poem,
an advertisement, a shape, or any other POET and see where it
takes you. What connections can be made to culture and what
new understandings can students create in relation to a given
text?
References
Althusser, L. (2008). On ideology. Brooklyn, NY: Verso.
Berry, K. S., & Kinecheloe, J. L. (2004). Rigour and complexity in
educational research. New York, NY: Open University Press.
Carpenter, B. S., & Taylor, P. G. (2003). Racing thoughts: Altering
our ways of knowing and being in art through computer
hypertext. Studies in Art Education, 45, 40-55.
Darling-Hammond, L. & Bransford, J. (2005). Preparing teachers
for a changing world. Hoboken, NJ: John Wiley and Sons.
Derrida, J. (1976). Of grammatology. Baltimore, MD: The John
Hopkins University Press.
Feldman, E.B. (1994). Practical art criticism. Englewood Cliffs, NJ:
Prentice-Hall
Giroux, H. A. (1981). Ideology culture & the process of schooling.
Philadelphia, PA: Temple University Press .
Irwin, R. (2004). A/r/tography: Rendering the self through arts-
based living inquiry. Vancouver, B.C.: Pacific Educational
Press.
Irwin, R., Springgay, S., & Kind, S. W. (2005). A/r/tography as
living inquiry through art and text. Qualitative Inquiry, 11
(6), 897-912.
Kiefer-Boyd, K. (1996). Interfacing hypermedia and the Internet
with critical inquiry in the arts: Preservice training. Art
Education, 49(6), 33-41.
Landow, G. P. (2006). Hypertext 3.0,Baltimore, MD: The Johns
Hopkins University Press .
Manovich, L. (1999). The language of new media. Cambridge,
MA: MIT Press.
Marlowe, C. (1903). Christopher Marlowe. [Google Book
version]. Retrieved from http://books.google.com
Pinar, W. F. & Reynolds, W. M. (1992). Curriculum as text. In W.
F. Pinar & W. M. Reynolds (Eds.), Understanding Curriculum
as Phenomenological and Deconstructed Text (pp. 1-13).
New York, NY: Teachers College Press.
(Self) Representation (n.d.). Retrieved on January 13th, 2010,
from explore-re-presentation. www.explore-re-
presentation.wikispaces.com
Sutherlin, M. (2010). "image"/ "i"/ "nation" : A theory and
practice of becoming an a/r/tographer. Doctoral
dissertation, University of North Texas, Denton, TX.
Taylor, P. G., & Carpenter, S. (2002). Inventively linking: Teaching
and learning with computer hypertext. Art Education, 55(4),
6-13.
Taylor, P. (2000). Madonna and hypertext: Liberatory learning in
art education. Studies in Art Education, 41(4), 376-389.
Ulmer, G. (1994). Heuretics: The logic of invention. Baltimore,
MD: The Johns Hopkins University Press.
Ulmer, G. (2003). From literacy to electracy. New York,
NY: Longman Publishers.
Footnotes
'According to Texas Education Agency (Texas Education Agency, 2009), economi-
cally disadvantaged students are categorized as those who are eligible for free or
reduced lunch.
"Referring to the classroom situation and how teacher and student interact with
information and one another. The classroom serves as a smaller reflection of
society.
"' Referring to both dominant and subcultures and the forms of representation
that exist within them. Knowledge is always situated within culture, never sepa-
rated from it.
'Hypertext is a dynamic text that allows for multiple methods of readership and
construction through a series of links.
VJohnny Chung Lee developed the WiiSmoothboard which is a low-cost interac-
tive whiteboard using the Wiimote. More information can be found at http://
johnnylee.net/projects/wii
TRENDS I 2010 30
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Texas Art Education Association. Texas Trends in Art Education, 2010, periodical, 2010; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth279694/m1/31/?q=2010: accessed November 8, 2025), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas Art Education Association.