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Interdisciplinary Arts and Media Commons™
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Articles 1 - 6 of 6
Full-Text Articles in Interdisciplinary Arts and Media
Pre-Service Teachers’ Perspectives On How The Use Of Toon Comic Books During Guided Reading Influenced Learning By Struggling Readers, Ewa Mcgrail, Alicja Rieger, Gina M. Doepker, Samantha Mcgeorge
Pre-Service Teachers’ Perspectives On How The Use Of Toon Comic Books During Guided Reading Influenced Learning By Struggling Readers, Ewa Mcgrail, Alicja Rieger, Gina M. Doepker, Samantha Mcgeorge
Gina Doepker
The study presented in this article examines the use of comic books, specifically the TOON comic books during guided reading instruction. The instruction was provided to struggling readers by the Literacy Center at a comprehensive university in southeastern United States. What most pre-service teachers in this study agreed upon was that comic books served as an effective tool for getting their students interested in reading. Reading comic books with tutors as partners in conversation with the struggling readers in this study was also a powerful medium for facilitating students’ literacy skills development, particularly in the areas of reading fluency and …
Because I Am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy And Virtual World Aesthetics, Francisco Gerardo Toledo Ramírez
Because I Am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy And Virtual World Aesthetics, Francisco Gerardo Toledo Ramírez
Francisco Gerardo Toledo Ramírez
Second Life is a virtual world accessible through the Internet in which users create objects and spaces, and interact socially through 3D avatars. Certain artists use the platform as a medium for art creation, using the aesthetic, spatial, temporal and technological features of SL as raw material. Code and scripts applied to animate and manipulate objects, avatars and spaces are important in this sense. These artists, their avatars and artwork in SL are at the centre of my research questions: what does virtual existence mean and what is its purpose when stemming from aesthetic exchange in SL?
Through a qualitative …
Installation Art - Frenzy Episode | Contact | Raising The Dead, Agnieszka Golda, Martin V. Johnson, Ruth Fazakerley
Installation Art - Frenzy Episode | Contact | Raising The Dead, Agnieszka Golda, Martin V. Johnson, Ruth Fazakerley
Agnieszka Golda
This monograph presents a series of three exhibitions developed collaboratively by Agnieszka Golda and Martin Johnson. It describes a wonderful tracery of not quite recognisable anthropomorphic creatures who inhabit oddly constructed and disjointed spaces. Together Golda and Johnson have utilised crocheted and printed textiles, carved wood and painted aluminium to form strange dwellings, figures and passages. Dr Ruth Fazakerley's research and art practice span Australian contemporary urban public art, painting and sculptural installation. In her essay here she positions Golda and Johnson's work in a wider context. The distinctive aesthetic force of collaborative process is underpinned by Golda's discerning scholarship …
Contemplative Video Art Interview, Joanna Spitzner
Contemplative Video Art Interview, Joanna Spitzner
Anne Beffel
At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy
At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy
Anthony Purdy
Suspended between metaphor and metonymy, between the spatial logic of the collection and the scenario of the personal that was the life of its owner, Pierre Loti's house in Rochefort participates in the same transvestism as his novels. This article explores the house museum as a heterotopia in which the synchronous time of the collection is open to disruption by the souvenir's reference to past events, to the biography of the collector.
Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott
Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott
Anthony Purdy
Exploring in the gallery space the possibilities of an experimental intermediality, Luper at Compton Verney deploys the suitcase both as an emblem for key moments of twentieth-century history, including Auschwitz , and as a recurrent device in twentieth-century art. This essay examines the intersections of art and history in an exhibition space conceived as a complex heterotopian play of "other spaces," such as suitcase installations, vitrine displays, film projections, video screenings, drawings, and maps.