Abstract
At a time when digital media is regarded as orthodoxy in education, in advanced global economies there is a pressing argument to review the lessons of the past and reflect on whether they are still applicable. This paper will enquire into today’s issues with digital practices in art and design education using relevant, historical examples from the main changes in approach of the last century. It will also explain how the changes of approach to art and design education has affected the choice of materials, the stress on different skills and the values of different creative arts within the subject. From a position as a practitioner in the moving image, and in response to this autoethnographic research, the author puts forward a pluralist approach to teaching design, through a hybrid of particular aspects of ‘heritage’ and digital practices.
Keywords
design education, drawing, digital, hybrid practices
DOI
https://doi.org/10.21606/learnxdesign.2013.089
Citation
MacDonald, I.(2013) Digital gardens with real toads in them: the place of heritage media in a digital art and design education, in Reitan, J.B., Lloyd, P., Bohemia, E., Nielsen, L.M., Digranes, I., & Lutnæs, E. (eds.), DRS // Cumulus: Design Learning for Tomorrow, 14-17 May, Oslo, Norway. https://doi.org/10.21606/learnxdesign.2013.089
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Included in
Digital gardens with real toads in them: the place of heritage media in a digital art and design education
At a time when digital media is regarded as orthodoxy in education, in advanced global economies there is a pressing argument to review the lessons of the past and reflect on whether they are still applicable. This paper will enquire into today’s issues with digital practices in art and design education using relevant, historical examples from the main changes in approach of the last century. It will also explain how the changes of approach to art and design education has affected the choice of materials, the stress on different skills and the values of different creative arts within the subject. From a position as a practitioner in the moving image, and in response to this autoethnographic research, the author puts forward a pluralist approach to teaching design, through a hybrid of particular aspects of ‘heritage’ and digital practices.