CfP Issue 3: Class

PRISM Journal Themed Issue Call for Papers

Education, Pedagogy and Class:

Emergent Consciousness in Learning Delivery Systems

PRISM Journal invites submissions relating to the theme of Education, Pedagogy and Class.

In this special edition, we invite you to explore the relevance of social class in contemporary education. Does the focus on individual achievement, employability, and a mirroring of traditional societal structures result in learning delivery systems that inevitably prioritise one class over another? To what extent have students and educators become neoliberal entrepreneurs of the self in this ‘new spirit of capitalism’ (Bolantski and Chiapello, 2005)? Is emancipation available only to those most able to adopt the ways of the powerful classes? If economic, social, and cultural inequality is inextricably linked to the stratification of educational attainment, how has this relationship been expressed in policy and practice? Can we produce critical, intersectional discussion of theories of the suppression, oppression, and exploitation of disempowered social groups whilst simultaneously operating within the economic structures that rely on these practices?

Download the full call for papers below


Art and Resistance Exhibition

Art and Resistance exhibition opening at Prism Contemporary Gallery. The exhibition was curated to accompany the CDSS conference ‘A Neoliberal Nightmare: Beyond the Populist Insurgence at UCBC.

The exhibition featured work from:

Kevin Craig
Jenna Gardner
William Card
Shaun McAllister
Steven Baldwin
Brandon Donnelly
Michael Reece
Joanna Neil
Jamie Holman

Exhibitions should be a part of academic conferences! This provided a welcome change of pace and stimulated new ideas and discussion among the delegates.

The pedagogy of creativity: Early thoughts on teaching and learning the creative process

The teaching of creativity frequently employs models of the creative process that are cyclical and iterative. these tend to be based on models such as Kolb’s learning cycle. These models imply that we move through the creative process as we engage with  it.
Kolb's learning cycle
Kolb’s learning cycle
Dubberly's model of the creative process
Dubberly’s model of the creative process

This conception of creativity has led to intrumental implementations of the creative process in business such as ‘design thinking‘. I asked the following questions:

What if it is not the practitioner who moves or progresses through a creative process?

What if we move concepts and ideas through the nodes of our own creative network?

We could think of a node an operation that a practitioner has successfully performed with idea, concept or image before. For example:
  • invert/negate
  • scale
  • repeat
  • break apart
  • metaphorical shift
  • exaggerate
  • connect
  • superimpose/layer
  • degrade
So another way of thinking about learning the creative process is that through practice and education we gain a library of nodes or operators that we may connect together in different ways to obtain different results. Images, concepts, ideas, sounds, text are passed through a network of operations and a creative outcome can be produced as a result of this configuration.
This is similar to the visual metaphor used in the graphical user interface of compositing software such as Nuke
I would be grateful if readers of PRISM gave feedback on whether this idea is interesting and worth further development.
William Card

I Feel Myself Looked at by the Things

inno_shed_install_10-16_004 inno_shed_install_10-16_001 inno_shed_install_10-16_002 inno_shed_install_10-16_003

I Feel Myself Looked at by the Things from William Card on Vimeo.

I Feel Myself Looked at by the Things (MMU installation) from William Card on Vimeo.

As a artist, educator and researcher, I would like to share some images of my latest artwork, entitled I Feel Myself Looked at by the Things, a video installation incorporating a dressing table, two-way mirrors, 3D animation, visual effects and 3D printing.
I have a background as a fine art practitioner but now also lecture in design, illustration and animation. In the time since I started working with painting, video and installation, I have become increasingly interested in digital moving imagery and especially three dimensional computer generated imagery (CGI). I use visual effects to create the impression of unknown yet familiar forms within the screen, creating new associations, fantastic implied narratives and extra-dimensional implications in otherwise mundane spaces. CGI can look ‘realistic’ but have no connection to the real beyond an urge towards the ‘paradox of perceptual realism’ (Rodowick, 2007 p101). In this way, the computer generated image is like an uncanny double.
Viewing the uncanny through the lens of affect theory, as an embodied preconscious and prepersonal intensity, the ‘uncanny shudder’ (Gunning, 2008:69), that traverses, but is not limited to, our bodies and that we ‘fix in post’ as horrible, pleasurable or somehow both of these things at once might help to explain uncanny pleasure in art. The practice presented here has isolated a particular form of uncanny experience that is already held within contemporary CGI. It does have, along with its uncanny qualities, a certain kind of absurd humour and aesthetic pleasure. It does create an ‘uncanny shudder’, a physical reaction, involuntary exclamation and gesticulation. The source of this ‘uncanny shudder’ flows through the same stream as laughter –  It is virtual ‘…a lived paradox where what are normally opposites coexist, coalesce, and connect.’ (Massumi, 2002:30)
The urge in visual effects towards the ‘paradox of perceptual realism’ (Rodowick, 2007:101) leads to the creation of imagery that is atemporal, in the sense that it shows events that never occurred, to objects that never existed, in locations that have been augmented, being given all the surface cues of reflectance, rootedness and solidity that lead us to a sense of immediacy and ‘realism’. CGI visual effects images are like Freud’s uncanny double (1919), but a double for which, paradoxically (and uncannily), there is no original referent. This practice exploits the conventions of film and installation art in order to recover ‘something of the original strangeness’ (Gunning, 2003:45) of computer generated imagery.
William Card