#3CityLink involved fine arts researchers, artists and students in three cities: Regina, Canada; Coventry, UK; and Gyumri, Armenia. The project presented a platform for translocal creative interactions using online screen-based media and on-the-ground dialogues. Artists and students investigated the concerns of their locale, questioning the role of the artist in building narratives, revealing lost histories and imagining the future of where they live. Using descriptive case study design, the findings present the opportunities for enriching the student learning experience through challenging habitual approaches to art production, through alternative approaches to digital pedagogy in art education. Students' artwork took on new dimensions beyond what they could have produced working in relative isolation in a university-only studio setting. Students were encouraged to pursue and persist in online learning spaces whilst also taking responsibility for organising their own learning and that of others. Nonetheless, using visual technology and social media for connected, artistic, co-investigation needs further refinement to engage learners, and enhance the quality of visual presence and its potential in open education.
D’après Stephen Heath, les concepts de nation et de différence sexuelle sont nécessairement liés à une théorisation du cinéma national en tant que représentation de lutte et de conflit social. Ce texte examine cette relation à travers les idées de régionalisme, de classe, de culture, et de masculinité dans Goin’ Down The Road (Canada 1970, Don Shebib), un film narratif important du cinéma canadien-anglais. En partant des théories “post-coloniales” de Homi K. Bhabha, ce texte s’efforce de relire le film en tant que discours minoritaire et en tant que “communauté imaginaire de la fraternité horizontale.” A Travers les travaux de Michael Kaufman sur la masculinité comme fantaisie de PUISSANCE, il sera proposé que la nation et la masculinité sont tous deux des structures idéologiques.
À partir des idées de Thomas Waugh, qui suggére de rendre «queer» les canons du cinéma canadien, cet article questionne la notion populaire et postmoderniste que le cinéma de David Cronenberg est radical et que ses héros sont transgressifs. En résponse à la proposition de Waugh de changer la perspective théorique actuelle de l’étude masculiniste du cinéma canadien, qui adopte le préjugé hétéronormatif des débuts du féminisme, en lui substituant un discours social plus inclusive basé sur les concepts «queer» du continuum homosocial, du désir homosocial et de l’homophobie, cet article esquisse les bases d’une lecture dialogique/féministe/«queer» des films de cet auteur apparemment progressiste, mais dont l’oeuvre est joncher d’homosexuels morts. Plutôt qu’un cinéma de libération et de transformation masculines, l’oeuvre de Cronenberg se révéle comme romantique, phallique et narcissique dans son traitemement hystérique du corps et de l’autre «queer» féminisé.
This article explores the capacity of art for representing the question of ecological grief now confronting us in the Anthropocene. My art work is an ongoing series of drawings and paintings of dead birds entitled "Adrift in History." In reflecting on the meaning of this artistic practice through environmental narrative and art as a complex site of productive experimentation, I place the experience of grief-regarding both human and animal mortality in our rapidly diminishing environment in the Anthropocene-on display and for interpretation within multiple modalities. This project brings together art, literature, poetry, psychology, philosophy, phenomenology, environmentalism, cultural ecology, anthropology, ornithology, and naturalism to frame the cycle of life, death and transformation. My goal is to juxtapose an ecocritical theoretical lens with the art work to create a discursive intermedial effect-one that asks, reflexively, what the value might be of contemplating, while creating, an interspecies, archetypal image of the soul and its potential emotional resonance in the traumatic contemporary moment of the Anthropocene condition.In "Who Is This One?"-a recent suite in the series "Adrift in History"-I dwell on the image of the North American robin-Turdus migratorius-a common backyard species, and one of the many birds now facing great risk. So, I depict the robin at rest, contingently, in a state of limbo between life, death and the after-life. Influenced by Jon Young's environmental narrative, What the Robin Knows: How Birds Reveal the Secrets of the Natural World, and the ecocritical concept of strategic empathy, I represent what the robin might feel. I am interested in how such images-and their capacity to evoke sympathy in the system of affinities between the embodied human mind and the more-than-human world enfolding animals, nature, and the environment as interdependent forces-might contribute to efforts to move us through and beyond grief, toward active investment as answerable, and ethical agents of social change.
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