Scenography and new media technologies: history, educational applications and visualization techniques

The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer. My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design. This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential

Pagecasting in the UWC: Writing, Digital Media, and Communtiy Outreach

As writing centers adapt to the influx of students with nontraditional writing assignments, such as hypertexts and other digital creations, the response of consultants and administrators has often been a somewhat defensive one. To some extent, writing centers must see new technology from this type of reactionary perspective: students bring in writing projects that their instructors assign, and consultants respond as best they can to meet the students’ writing needs. But writing centers are in the unique position to take a lead role in developing technologically aided approaches to education. Therefore, in the face of adapting to the challenges of these new forms of writing, we have taken a proactive role in teaching students to write in digital environments. Using writing center methods and philosophy in a classroom environment, we have found that we can empower students to express themselves in digital media and, in the process, improve their writing in more traditional text-based forms.University Writing Cente

Afterschool in Action: Innovative Afterschool Programs Supporting Middle School Youth

This report, released by Afterschool Alliance in partnership with MetLife Foundation, highlights the work of quality afterschool programs that support children, families and communities across the nation.This compendium is a compilation of four issue briefs examining critical issues facing middle school youth and the vital role afterschool programs play in addressing these issues. This series explores afterschool and: arts enrichment, parent engagement, school improvement and digital learning. The compendium also includes in-depth profiles of the 2012 Afterschool Innovator Award winners, as well as highlights from 2008-2011 award winners.The 2012 MetLife Foundation Afterschool Award winners are:The Wooden Floor, Santa Ana, CALatino Arts Strings & Mariachi Juvenil, Milwaukee, WIKid Power Inc., The VeggieTime Project, Washington, D.C.Parma Learning Center, Parma, IDGreen Energy Technologies in the City, Lansing, M

Media, Public Storytelling and Social Justice: An Introduction to FOMACS, Forum on Migration and Communications

This case study, commissioned by Atlantic Philanthropies, presents snapshots of projects demonstrating how The Forum on Migration and Communications (FOMACS) strengthens the voices of migrants and NGOs who work in the migrant sector by using collaboration, creative arts, digital media and storytelling as catalysts for social change, advocacy and educational transformation

Review of practice-led research in art, design & architecture

This review report sets out the outcomes of a 10 month investigation to describe the landscape of practice-led research in Art, Design and Architecture (ADA) in the UK and beyond. We were asked for a qualitative review but of course it has been important to gather some numbers to check and illustrate our observations. We have consulted widely, both face to face and in the virtual world, with experts and novices in the UK and around the world. We have tried to strike a balance between the natural desire of our colleagues to debate the more contentious aspects of this territory (they were never going to forgo that opportunity) and the equally strong wish of the AHRC that we should provide a clear description of what is happening. We have collected some diverse examples of research and subjected them to various examinations. We have also examined a selection of research projects funded by AHRC and other projects by creative practitioners, funded by a non-research organisation. From all this we have been able to describe the landscape in a straightforward sense: We have measures of the proportions of ADA academics involved in practice-led research. We have clarified differences in the ways that the different ADA disciplines engage with practice-led research and identified some problems that indicate possible future support strategies. We have discussed some problems with general definitions of research and identified issues that should be addressed to ensure that the AHRC definition can be applied to the full range of practice-led research. We have picked out some specific case examples that illustrate the range of contexts, methods and contributions made by practice-led researchers, and more are described in detail in Appendix F. We have also sought to assess how this research relates to the wider international picture in which the UK appears to have a strong position in both volume and development of research. We have also set out some issues that affect this community of researchers: What strengths and weaknesses have we observed and where is there a need to support development? Do the AHRC definition of research and guidance on practice-led research provide an effective framework? We have illustrated the state of development of research in ADA, and some reasons why it is less robust than might be expected from such long established disciplines. We recommend that the career path of researchers in ADA needs some attention and make some suggestions about how that could be achieved. We have also indicated some areas of inquiry that might be supported to advance the theory and methods of practice-led research. In particular we have come to the conclusion that conventional ideas of contribution to knowledge or understanding may not be serving us well. This is significant to fine artists but we believe that it relevant across ADA and a shared effort to develop appropriate new models would be a constructive development. The full set of recommendations can be found in chapter 5