Gary Carsley

The Augmented Studio

Abstract:

This paper articulates an approach to studio based Fine Arts teaching and learning that preserves and projects into the future the best aspects of current face to face, one to one approaches to studio pedagogy by enhancing them with the newer methodologies of blended learning and the flipped classroom. A fully augmented studio captures and collates the student and teacher learning experience of each semester and transmits it into the future as a self-aggregating resource available to future teachers and students. It does so by drawing inspiration from how multicultural, multigenerational and multilingual students engage with social media and the exchange of images and text that are among the attributes of the new online “sharing” economy.

This paper acknowledges current positions on blended learning while concentrating on material gathered first hand in the design and implementation of SART9001 STUDIO CONCEPTS AND PRACTICES. It outlines the studio and Technology Enhanced Active Learning (TEAL) methodologies employed in delivering and reviewing coursework content and the process of capturing student and teacher learning experiences and conveying them into the future as a self-renewing resource intrinsic to the coursework structure. In concluding, this paper outlines strategies for diminishing the obstacles faced by mature age students and those from a non-English speaking background.

Download The Augmented Studio (2.64 MB)

Gary Carsley:

Gary Carsley is an internationally active artist, curator and academic. In addition to an extensive studio based practice he has undertaken large-scale public commissions in Sydney, New York and Singapore. His research interests include lip sync and ventriloquism as potential de-colonial strategies and modes of parallel historification. He is currently investigating neo-medievalism as a way of critically engaging with the paradigm of the post-internet flat world and the globalized cultural and political economy. He has a specialist interest in the hand made as a site of resistance to uniformity and as a way of theorizing labour as capital.