TIME:\u00a0 2-5 pm<\/p>\n
Workshop moderators:<\/p>\n
Associate Professor Paul Thomas:, College of Fine Art, University of New South Wales;<\/p>\n
Nina Czeglady: Senior Fellow, KMDI, University of Toronto, Adjunct Associate Professor, Concordia University, Montreal, Senior Fellow, Hungarian University of Fine Arts, Budapest.<\/p>\n
Workshop Abstract:<\/p>\n
Transdisciplinarity is deemed \u2018radical\u2019, \u2018provisional and opportunistic\u2019 because it challenges traditional educational paradigms. It focuses critical and creative attention onto domain-specific problem areas of \u2018chance\u2019, \u2018discontinuity\u2019 and \u2018materiality\u2019 (Foucault, 1976) to transcend limits within established disciplinary knowledge practices. This enables (re)visioning of the role, activity and value of Art Schools in uniting the pedagogical and technological strengths of the humanities and sciences in a university context, utilising conceptual growth, experimental innovation, visual communication and flexible learning spaces to deliver a model\u00a0of Transdisciplinarity<\/em>.<\/p>\n The transdisciplinary model will be explored in the context of a trans-migratory role from Istanbul to Liverpool post the ISEA workshop and look for different voices from the various international institutional perspectives.<\/p>\n This workshop will address and share experiences and difficulties encountered while developing transdisciplinary art-science research, teaching, and when meshing curricula from diverse fields.<\/p>\n <\/p>\n Working groups focus: <\/strong><\/p>\n 1. Discuss transdiciplinary colloborations<\/p>\n Working group leaders: Petra\u00a0 Gemeinboeck\u00a0 and Mike Phillips<\/p>\n 2. Discuss transdiciplinary practice in the studio<\/p>\n Working group leaders: Ross Harley and Peter Ride<\/p>\n 3. Discuss transdisciplinary theory<\/p>\n Working group leaders: Darren Tofts and Wendy Coones<\/p>\n Aims: To identify and share ways to surmount some of the difficulties commonly encountered in interdisciplinary art\/science practices and curricula with the aim of publishing a guide to effective models and best practices.<\/p>\n The LEAF international intend to publish an article based on the contributions by participants of transdiciplinary workshops 2011<\/p>\n Focus Group 1.<\/strong> <\/strong>Discuss transdiciplinary colloborations<\/strong><\/p>\n PRESENTATION TITLE:<\/strong> transdisciplinary framework for research collaboration.<\/p>\n PRESENTER:<\/strong> Petra\u00a0 Gemeinboeck<\/p>\n TITLE:<\/strong> Dr<\/p>\n AFFILIATION:<\/strong> College of Fine Art, University of New South Wales<\/p>\n <\/strong><\/p>\n PAPER ABSTRACT<\/strong><\/p>\n This presentation will explore how historically experimental arts practices seem to be particularly privileged for opening up and navigating via transdisciplinarity such a complex, slippery terrain. Yet we haven\u2019t even opened \u201cpandora\u2019s box\u201d yet \u2013 asking the question of how transdisciplinary research can be practiced within the established institutional framework? This includes the issue of locating ones\u2019 research and related barriers with regards to funding and promotion. How can we develop and foster a horizontal, open transdisciplinary framework for research collaboration that perforates and transcends existing disciplinary boundaries within an institutional system where both resources and career paths are confined to vertically aligned, formally defined codes and practices?<\/p>\n <\/p>\n PRESENTATION TITLE: Dirty Data<\/strong><\/p>\n PRESENTER:<\/strong> Mike Phillips<\/p>\n TITLE:<\/strong> Professor of Interdisciplinary Arts<\/p>\n AFFILIATION:<\/strong> i-Dat University of Plymouth<\/p>\n PAPER ABSTRACT<\/strong><\/p>\n <\/p>\n Certainly, within the Earth Sciences, there is a fractious debate around the value, nature and meaning of \u2018data\u2019. To the instrumentalists that measure the world data is something clean and uncorrupted by human hands. For them the data collected by people, through unmediated observation, citizen science processes and historic archives is described as \u2018dirty\u2019 and therefore fallacious.<\/p>\n This divergence within a single disciplinary community does not bode well for the cultivation of interdisciplinary relationships where the amplification of difference may threaten to drown out opportunities for harmony.<\/p>\n Or could it be that this friction is the necessary ingredient to create the conditions to put the \u2018Trans\u2019 into disciplinarity? Looking through and beyond the language of dispute to the materiality of the data it self to enable creative interventions that are mutually beneficial for the sciences and the arts. Here the ignition for transformation comes from an understanding of the \u2018qualitative\u2019 and \u2018quantitative\u2019 as a coherent whole. This requires a subtle shift of position for the arts and an embracing of a level of information literacy that moves through the Albertian window to create a new perspective on the world.<\/p>\n This presentation explores the importance of developing an understanding of data as a creative \u2018material\u2019 and as a Rosetta Stone for unlocking transdisciplinary dialogues and collaborations.<\/p>\n <\/p>\n Focus Group 2. Discuss transdiciplinary studio practice<\/strong><\/p>\n PRESENTATION TITLE:<\/strong> Working Across Disciplinary and Cultural Borders in Australia and China<\/p>\n PRESENTER:<\/strong> Ross Harley<\/p>\n TITLE:<\/strong> Professor<\/p>\n AFFILIATION:<\/strong> National Institute of Experimental Arts; School of Media Arts, COFA, University of New South Wales.<\/p>\n <\/strong><\/p>\n PAPER ABSTRACT<\/strong><\/p>\n For two weeks in September 2009 more than sixty art, design, and architecture students, practitioners and academics worked on a live design brief in an intensive two-week studio at Donghua University, Shanghai. e-SCAPE was a partnership between Professor Richard Goodwin\u2019s Porosity Studio, and The Collabor8 Project (C8) led by Ian McArthur, in collaboration with Donghua University (Shanghai) and COFA (Sydney). This presentation will briefly outline some of the successes and challenges encountered in the process of working across disciplinary, cultural, and institutional boundaries.<\/p>\n <\/p>\n PRESENTATION TITLE:<\/strong> construction of meaning in practice<\/p>\n PRESENTER:<\/strong> Peter Ride<\/p>\n TITLE:<\/strong> Principal Research Fellow<\/p>\n AFFILIATION:<\/strong> University of Westminster<\/p>\n <\/strong><\/p>\n PAPER ABSTRACT<\/strong><\/p>\n Curating is increasingly an interdisciplinary activity and the boundaries of what can be considered to be \u2018curatial practice\u2019 have changed. We can see that questions about curatorial practice that have been alive and well for many years in the new media field are increasingly being articulated as issues facing all areas of contemporary practice. However I argue that what often gets left out of the picture is the audience, and that in analysing what curatorial practice means we often concentrate on the place of the production at the expense of understanding meaning. Or more specifically how meaning is communicated to an audience. Using the term that is current in Visual Culture, \u00a0what constitutes a \u2018visual event\u2019? Recent educational theories around fine arts practice-as-research suggest that we can see the construction of meaning in practice as a point of cognitive transference. I suggest that we can adapt these models and use them to explain the \u2018visual event\u2019 when the audience meets the work and the entire construction of meaning as en example of cognitive transference.<\/p>\n <\/p>\n Focus Group 3. Discuss transdisciplinary theory<\/strong><\/p>\n <\/p>\n PRESENTATION TITLE<\/strong>:<\/strong> Being Undisciplined<\/p>\n <\/p>\n PRESENTER<\/strong>:<\/strong> Darren Tofts<\/p>\n TITLE:<\/strong> Professor<\/p>\n AFFILIATION:<\/strong> Swinburne University of Technology in Melbourne<\/p>\n <\/strong><\/p>\n PAPER ABSTRACT<\/strong><\/p>\n <\/p>\n Darren Tofts \u00a0expands on Edward Colless’s ISEA \u00a0abstract \u00a0by focusing on the undisciplined in addressing whether the \u201ctransdisciplinary\u201d adjective, \u00a0offers an alternative or a distinction to interdisciplinary, institutional consensus? I believe it does, but in a way that requires criticism as well as endorsement. I propose that we theorize the \u201ctransdisciplinary\u201d as a disruption to interdisciplinary conferring: that we encourage it as disagreement and, in a more demanding finesse of its alterity, as the \u201cun-relation\u201d of disciplines. There is some caution in this: do we not lose the prospect of academic cosmopolitanism, and its imperative of universality, when the interdisciplinary meeting place is disrupted? Let us think of the \u201ctransdisciplinary\u201d disruption, however, not as a deregulation of academic discipline (as a cultural relativising of the arts and sciences meeting on equal ground), but as an irregularity within academic discipline; as an insurgency or \u201cin-discipline\u201d of academe.<\/p>\n <\/p>\n I suggest, in response, that we use the prefix \u201ctrans\u201d to suggest drift and errancy, as disciplines cross each other with the eventful possibility of collision or collusion but without the eventuality of their consensus. I would provocatively call this crossing an\u00a0occultation<\/em>, in that it induces an esoteric knowledge not manifestly conferrable, discernable or communicable. In this respect, the \u201ctransdisciplinary\u201d induces an occulting of disciplinary research by an abnormality or unnaturalism, which is to say it offers a new manner of\u00a0occult<\/em>knowledge. Can we speculate, within our specialities of visual media for instance, on \u201ctransdisciplinary aesthetics\u201d as such an occult vision? In the fugue-like drift of the \u201ctransdisciplinary\u201d, could aesthetics become an occult science, or (in no way symmetrically or commensurately) could science become an occult aesthetics?<\/p>\n <\/p>\n <\/p>\n PRESENTATION TITLE:<\/strong> Title: 3 + 5 + 7 = 1 * Propagating Transdisciplinary Theory<\/p>\n PRESENTER:<\/strong> Wendy Coones<\/p>\n TITLE:<\/strong> Ms<\/p>\n AFFILIATION:<\/strong> Department for Image Science * Danube University Krems. Academic staff & coordinator of the MediaArtHistories, MA<\/p>\n PAPER ABSTRACT<\/strong><\/p>\n The propagation and cultivation of an international field requires diverse and concerted efforts. Between formal education curricula, digital and print dissemination points, common research tools, national \/ international collaborations and continually developing interaction structures; a polycultural space can evolve. Taking into consideration the parameters of individual endeavors and their possible influence on one another, a larger image of the interconnectedness can be discussed.<\/p>\n <\/strong><\/p>\n <\/p>\n <\/strong><\/p>\n <\/strong><\/p>\n Wendy Coones<\/strong><\/p>\n Wendy Coones studied Fine Arts at the San Francisco Art Institute and received her BFA during a time when new genres were being incorporated into the cutting edge of art school curricula. \u00a0After<\/p>\n receiving an M.Ed. in Educational Research & Philosophy, she began working in museums as an exhibition developer of international cultural and scientific exhibits. Since 2005 she has been on the academic staff at the Department for Image Science responsible for curricula development, course realization and research. She has been on the Database of Virtual Art team since 2003 and was the founding web coordinator of the MediaArtHistory.org platform during her time at Humboldt University in Berlin.<\/p>\n Nina Czegledy<\/strong><\/p>\n Nina Czegledy, award winning media artist, curator and educator works internationally on collaborative art& science& technology and \u00a0educational projects. She has produced time based and digital projects and exhibited widely. Czegledy curated numerous international touring exhibitions, developed and presented in collaboration 18 international educational workshops and has lead and participated in forums, workshops and festivals worldwide. Her academic lectures lead to numerous international publications in books and journals. Czegledy is affiliated with KMDI, University of Toronto, Concordia University, Montreal, The University of Fine Arts, Budapest, the Moholy Nagy University of Design, Intercreate Org. and is a Member of the Governing Board of Leonardo\/ISAST, Observatoire Leonardo des Arts des Techno-Sciences OLATS, Year 01, Media Arts Collective, Contributing Editor: Leonardo Electronic Almanac, President of the Critical Media Arts Society.<\/p>\n Petra\u00a0 Gemeinboeck<\/strong><\/p>\n Petra Gemeinboeck explores the ambiguities and vulnerabilities in our relationships with machines, seeking to make tangible the desires and politics involved.\u00a0Her practice in machine performance, interactive installation, and virtual environments engages participants in scenarios of encounter, in which they are provoked to negotiate, conspire with or even solicit a machine-generated co-performer.\u00a0\u00a0Often involving collaborators, her research\u00a0spans the fields of\u00a0architecture,\u00a0computational creativity, new\u00a0media arts, performance, robotics, textile design, and visual culture.\u00a0Petra\u2019s works have been exhibited internationally, including at the Ars Electronica, Archilab, Thessaloniki Biennale, MCA Chicago, ICC Tokyo, OK Center for Contemporary Art, and the Centre des Arts Enghien at Paris. She has also published widely on issues of interactivity and machine agency. Born in Vienna, Petra is currently based in Sydney, where she is a Senior Lecturer in Interactive Media Arts at the College of Fine Arts, University of NSW.<\/p>\n <\/strong><\/p>\n Ross Rudesch Harley<\/strong><\/p>\n Ross Rudesch Harley is an artist and writer whose work has been presented at the Pompidou Centre in Paris, New York MoMA, Ars Electronica in Austria, and at the Sydney Opera House. He is also well-known for directing the audio\/vision for the Cardoso Flea Circus videos and live performances with Colombian-born artist Maria Fernanda Cardoso. Recent work includes Aviopolis (with Gillian Fuller), a multimedia project and book about airports, Black Dog Publications, London; Busface, a photo-media installation with the Ejecutivo Colectivo exhibited at ArtBasel, Miami; and the DVD installation Cloudscope in collaboration with Durbach | Block architects at Elizabeth Bay House, Sydney. He is a former editor of the journal Art + Text, and has written regular columns on design and popular culture for Rolling Stone and for The Australian national newspaper. In 1992 he was the director of the Third International Symposium on Electronic Art (ISEA). He is Professor and Head of the School of Media Arts, College of Fine Arts at the University of New South Wales, Sydney, Australia.<\/p>\n <\/p>\n Mike Phillips<\/strong><\/p>\n Mike Phillips is Professor of Interdisciplinary Arts at the University of Plymouth. R&D orbits digital architec-tures and transmedia publishing, and is manifest in a series of \u2018Operating Systems\u2019 to dynamically manifest \u2018data\u2019 as experience in order to enhance perspectives on a complex world. The Operating Systems project explores data as an abstract and invisible material that generates a dynamic mirror image of our biological, ecological and social activities.<\/p>\n Mike Phillips is director of i-DAT.org, an Arts Research Organisation that acts as a catalyst for creative innovation across the fields of Art, Science and Technology, facilitating regional, national and international collaborations and cultural projects. As a networked organisation and \u2018cultural broker\u2019 i-DAT\u2019s transdisciplinary agenda fosters \u2018open innovation\u2019 and knowledge exchange between companies, institutions, communities and individuals. i-DAT is developing new \u2018tools\u2019 for production, dissemination and participation that challenge traditional models of creation and consumption, and embrace the shifting relationships between audiences and cultural producers. i-DAT\u2019s projects can be found on the i-DAT web site at: www.i-dat.org<\/p>\n <\/p>\n Peter Ride<\/strong><\/p>\n Peter Ride is Principal Research Fellow at The University of Westminster. He is course leader for MA Visual Culture and the MA Museums, Galleries and Contemporary Culture .<\/p>\n His research is centred around creative practice, in particular addressing digital media and interdisciplinary arts projects. He was one of the first curators in the UK to produce internet artworks. Recent curatorial projects include a retrospective, \u2018David Rokeby -Silicon Remembers Carbon\u2019 in the UK and Canada (2007\/8) and a group exhibition \u2018Timeless: time, landscape and new media\u2019 (Toronto, 2005).<\/p>\n Previously he was employed at the National Museum of Photography, Film and TV, (1983-7) The Photographers\u2019 Gallery (1989-93), Cambridge Darkroom Gallery (1993-5), Artec, the Arts Technology Centre, London (1995-7) and DA2 Digital Arts Development Agency (1998-2000).<\/p>\n He is the co-author with Andrew Dewdney of \u2018The New Media Handbook\u2019, Routledge, 2006.<\/p>\n Paul Thomas<\/strong><\/p>\n Dr Paul Thomas, has a joint position as Associate Professor Head of Painting at the College of Fine Art, University of New South Wales and Head of Creative Technologies at the Centre for Culture and Technology, Curtin University. Paul has chaired numerous international conferences and is co-curting a show of Australian artists for ISEA2011.\u00a0 In 2000 Paul instigated and was the founding Director of the Biennale of Electronic Arts Perth.<\/p>\n Paul is an artist, curator, academic and writer who has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space. Media-Space was part of the first global link up with artists connected to ARTEX. From 1981-1986 the group was involved in a number of collaborative exhibitions and was instrumental in the establishment a substantial body of research. Paul\u2019s research project \u2018Nanoessence\u2019 explored the space between life and death at a nano level. The project was part of an ongoing collaboration with the Nanochemistry Research Institute, Curtin University of Technology and SymbioticA at the University of Western Australia. The previous project \u2018Midas\u2019 was researching at a nano level the transition phase between skin and gold. In 2009 he established Collaborative Research in Art Science and Humanity (CRASH) at Curtin\u00a0http:\/\/crash.curtin.edu.au<\/a><\/p>\n Darren Tofts<\/strong><\/p>\n Darren Tofts is Professor of Media and Communications, Swinburne University of Technology in Melbourne.He is a well-known cultural critic who writes regularly for a range of national and international publications on issues to do with cyberculture, new media arts and critical and cultural theory.<\/p>\n Teaching: Darren teaches in the areas of Australian and International media arts, postmodernism and the historical avant-garde, literary history and twentieth century writing, critical and cultural theory and cyberculture.<\/p>\n Research: He is the author (with artist Murray McKeich) of Memory Trade. A Prehistory of Cyberculture (Sydney, Interface Books, 1998) and Parallax. Essays on Art, Culture and Technology (Sydney, Interface Books 1999) and Interzone: Media Arts in Australia (Thames and Hudson: Sydney, 2005). With Annemarie Jonson and Alessio Cavallaro he edited Prefiguring Cyberculture: An Intellectual History (Power Publications\/MIT Press, 2003).Formerly an editorial correspondent for 21C magazine, he is a member of a number of national and international editorial boards including Postmodern Culture, Continuum. The Australian Journal of Media and Culture, fibreculture journal, Hypermedia Joyce Studies, Rhizomes: Critical Studies in Emerging Knowledge, Scan Journal of Media Arts Culture and RealTime, where he is a commissioning editor for new media arts.His most recent book is Illogic of Sense: the Gregory L. Ulmer Remix (edited with Lisa Gye), Alt-X Critical eBook series, 2007.<\/p>\n For a more detailed list of his academic and journalistic publications http:\/\/researchbank.swinburne.edu.au\/vital\/access\/manager\/Repository?query=Darren+Tofts<\/a><\/p>\n For further information please contact\u00a0Marzena Topka<\/a><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Leonardo Education and Art Forum: session two Transdisciplinary Visual Arts, Science & Technology Renewal Post-New Media Assimilation workshop Sponsored by the National Institute for Experimental Arts Presented in collaboration with Rewire the Fourth International Conference on the Histories of Media Art, Science and Technology . Location: Liverpool School of Art & Design, \u2028Liverpool John Moores University Art & Design Academy \u2028Duckinfield St,\u2028 Off Brownlow Hill, Liverpool DATE: 27th September TIME:\u00a0 2-5 pm Workshop moderators: Associate Professor Paul Thomas:, College of Fine Art, University of New South Wales; Nina Czeglady: Senior Fellow, KMDI, University of Toronto, Adjunct Associate Professor, Concordia University, Montreal, Senior Fellow, Hungarian University of Fine Arts, Budapest. Workshop Abstract: Transdisciplinarity is deemed \u2018radical\u2019, \u2018provisional and opportunistic\u2019 because it challenges traditional educational paradigms. It focuses critical and creative attention onto domain-specific problem areas of \u2018chance\u2019, \u2018discontinuity\u2019 and \u2018materiality\u2019 (Foucault, 1976) to transcend limits within established disciplinary knowledge practices. This enables (re)visioning of the role, activity and value of Art Schools in uniting the pedagogical and technological strengths of the humanities and sciences in a university context, utilising conceptual growth, experimental innovation, visual communication and flexible learning spaces to deliver a model\u00a0of Transdisciplinarity. The transdisciplinary model will be explored in the context of a trans-migratory role from Istanbul to Liverpool post the ISEA workshop and look for different voices from the various international institutional perspectives. This workshop will address and share experiences and difficulties encountered while developing transdisciplinary art-science research, teaching, and when meshing curricula from diverse fields. Working groups focus: 1. Discuss transdiciplinary colloborations Working group leaders: Petra\u00a0 Gemeinboeck\u00a0 and Mike Phillips 2. Discuss transdiciplinary practice in the studio Working group leaders: Ross Harley and Peter Ride 3. Discuss transdisciplinary theory Working group leaders: Darren Tofts and Wendy Coones Aims: To identify and share ways to surmount some of the difficulties commonly encountered in interdisciplinary art\/science practices and curricula with the aim of publishing a guide to effective models and best practices. The LEAF international intend to publish an article based on the contributions by participants of transdiciplinary workshops 2011 Focus Groups Focus Group 1. Discuss transdiciplinary colloborations PRESENTATION TITLE: transdisciplinary framework for research collaboration. PRESENTER: Petra\u00a0 Gemeinboeck TITLE: Dr AFFILIATION: College of Fine Art, University of New South Wales PAPER ABSTRACT This presentation will explore how historically experimental arts practices seem to be particularly privileged for opening up and navigating via transdisciplinarity such a complex, slippery terrain. Yet we haven\u2019t even opened \u201cpandora\u2019s box\u201d yet \u2013 asking the question of how transdisciplinary research can be practiced within the established institutional framework? This includes the issue of locating ones\u2019 research and related barriers with regards to funding and promotion. How can we develop and foster a horizontal, open transdisciplinary framework for research collaboration that perforates and transcends existing disciplinary boundaries within an institutional system where both resources and career paths are confined to vertically aligned, formally defined codes and practices? PRESENTATION TITLE: Dirty Data PRESENTER: Mike Phillips TITLE: Professor of Interdisciplinary Arts AFFILIATION: i-Dat University of Plymouth PAPER ABSTRACT Certainly, within the Earth Sciences, there is a fractious debate around the value, nature and meaning of \u2018data\u2019. To the instrumentalists that measure the world data is something clean and uncorrupted by human hands. For them the data collected by people, through unmediated observation, citizen science processes and historic archives is described as \u2018dirty\u2019 and therefore fallacious. This divergence within a single disciplinary community does not bode well for the cultivation of interdisciplinary relationships where the amplification of difference may threaten to drown out opportunities for harmony. Or could it be that this friction is the necessary ingredient to create the conditions to put the \u2018Trans\u2019 into disciplinarity? Looking through and beyond the language of dispute to the materiality of the data it self to enable creative interventions that are mutually beneficial for the sciences and the arts. Here the ignition for transformation comes from an understanding of the \u2018qualitative\u2019 and \u2018quantitative\u2019 as a coherent whole. This requires a subtle shift of position for the arts and an embracing of a level of information literacy that moves through the Albertian window to create a new perspective on the world. This presentation explores the importance of developing an understanding of data as a creative \u2018material\u2019 and as a Rosetta Stone for unlocking transdisciplinary dialogues and collaborations. Focus Group 2. Discuss transdiciplinary studio practice PRESENTATION TITLE: Working Across Disciplinary and Cultural Borders in Australia and China PRESENTER: Ross Harley TITLE: Professor AFFILIATION: National Institute of Experimental Arts; School of Media Arts, COFA, University of New South Wales. PAPER ABSTRACT For two weeks in September 2009 more than sixty art, design, and architecture students, practitioners and academics worked on a live design brief in an intensive two-week studio at Donghua University, Shanghai. e-SCAPE was a partnership between Professor Richard Goodwin\u2019s Porosity Studio, and The Collabor8 Project (C8) led by Ian McArthur, in collaboration with Donghua University (Shanghai) and COFA (Sydney). This presentation will briefly outline some of the successes and challenges encountered in the process of working across disciplinary, cultural, and institutional boundaries. PRESENTATION TITLE: construction of meaning in practice PRESENTER: Peter Ride TITLE: Principal Research Fellow AFFILIATION: University of Westminster PAPER ABSTRACT Curating is increasingly an interdisciplinary activity and the boundaries of what can be considered to be \u2018curatial practice\u2019 have changed. We can see that questions about curatorial practice that have been alive and well for many years in the new media field are increasingly being articulated as issues facing all areas of contemporary practice. However I argue that what often gets left out of the picture is the audience, and that in analysing what curatorial practice means we often concentrate on the place of the production at the expense of understanding meaning. Or more specifically how meaning is communicated to an audience. Using the term that is current in Visual Culture, \u00a0what constitutes a \u2018visual event\u2019? Recent educational theories around fine arts practice-as-research suggest that we can see the construction of meaning in practice as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":105,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/302"}],"collection":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=302"}],"version-history":[{"count":20,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/302\/revisions"}],"predecessor-version":[{"id":2419,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/302\/revisions\/2419"}],"up":[{"embeddable":true,"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=\/wp\/v2\/pages\/105"}],"wp:attachment":[{"href":"https:\/\/www.mediaarthistory.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Focus Groups<\/h2>\n
Bios of the Moderators and Presenters<\/strong><\/h2>\n
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