Who and what is BOM?
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I was delighted to be invited to talk all things disruptive media at Creative Pie 2014 hosted at the Belgrade Theatre, Coventry. This year I decided to explore how research can truly make tangible differences within the creative sector. As such I introduced BOM directed by Karen Newman, an initiative developed and realised during her research fellowship with us at the Centre for Disruptive Media. I am also privileged with sitting on it's board. BOM (Birmingham Open Media) is a new space for art, technology and science. Our building at 1 Dudley Street includes a gallery, co-working and creative spaces which support radical R&D and deliver innovative experiences for public audiences. We work with a range of partners to deliver our programmes, including artists, ethical hackers and critical thinkers as well as forward thinking institutions. We are dedicated to open innovation and to the free culture movement, and are committed to art that has cultural and economic value by asking important questions about the role of future technologies. Opening on 14 November 2014, our new building includes: A GALLERY – showing new exhibitions and specially commissioned work CO-WORKING SPACE – for practitioners exploring creative technologies OPEN STUDIOS – flexible production and workshop spaces WETLAB – a laboratory for darkroom innovation and experiments with open science FOTOFILIA STUDIO – a photography studio, run by Fotofilia CAFE – managed by local tech & coffee entrepreneurs Urban Coffee Company
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NEWFOTOSCAPES
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22-23 May 2014
University of Westminster in association with the Royal Photographic Society
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Recommended
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This talk will reflect upon and explore the motivations, rational and methodology in the creation and development of an open, ‘fluid’ and hybrid publication.
It is aimed at people who are interested in exploring how the practitioner led educator may have privileged insights into defining new practices for a fast changing photographic landscape.
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How appropriate are walled and closed institutions for the digitally mediated world?
Arguably that the biggest disruption facing educators is not caused by the global economic crisis itself, or even the failure of vision of any particular government, but the one housed by the behemoth server farms and the global content producers of the Internet. We are in the midst of an educational system in which knowledge is being liberated from scarcity; previously the scholar’s role was to offer authoritative elucidation on the (rare and inaccessible) book to the privileged few. Today in the new ecology of ‘knowledge’ abundance, we have the potential to educate the masses – our problem is keeping up with and deciding what content to educate them about.
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Welcome to the Disruptive Media Learning Lab. We officially opened our doors in Sept 2014, fusing research and practice we are here (physically and digitally) to act as a sandpit for colleagues within the university, in both our campus’ here in Coventry, Scarborough, London, Dagenham, Online, forthcoming Poland and partners from across the city and beyond to come together to collaborate, experiment, invent and potentially innovate and change how we see and do education and learning today.
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How can Digital Tools support our Creativity?
Symposium, Friday 7 June, 12.30 – 5.45pm
Coventry University, UK
A symposium event hosted by the StoryFutures Creative Cluster project to explore how digital tools, technologies and their implementation can help make Coventry the most innovative and accessible City of Culture year.
We will be exploring how a cultural programme could help to deliver sustainable growth for the region’s creative industries; what opportunities a 5G testbed might make possible; and how the application of new digital tools could make Coventry a truly playable city.
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Salford University, UK
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Re-imagining the Student Experience focussed on the following topics;
Industry 4.0 and what the student experience will look like
Implications for the campus-based experience
Learning space and design
A University Imaginarium: are you game?
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The seminar presents ideas about playful and gameful learning, to extend formal engagement methods in teaching. Gameful learning experience promotes lifelong learning, and reshapes thinking about learning for 21st century knowledge economies and open societies. The seminar taps into playful inspirations of existing traditional games played by various cultures in Sarawak and all around the globe.
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This event is open to public. Teachers, instructors, trainers, and lecturers will find contents of the seminar relevant to their professional development as educators. You may refer to the attached flyer for more information about the event.
http://mycapsule.my
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Within this context, the lab focuses on how both mainstream and alternative approaches and technologies are explored, repurposed and remixed towards conceptualising a more hybrid and open approach to teaching and learning, in order to meet a wide range of stakeholders' needs and expectations.
This talk seeks to act as a catalyst for change, instigating an alternative mindset and creative attitude to challenge the existing status quo, to open up education and empower students and staff to re-model existing and own their teaching and learning practices in a networked age.
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A story of an experimental learning laboratory...
Keynote
Aberystwyth University
6th Annual Teaching and Learning Conference
11-12th September 2018
Abstract
Over the last four years the Disruptive Media Learning Lab has evolved and has strived to reposition and reconfigure education at Coventry University (CU) within the rapidly changing technological, social, economic and political contexts shaping the learning landscape. The lab has created a safe space and cultivated a culture in which open collaboration and innovation are the key attributes of its research, development and pathfinder projects. As a sandpit and incubator of exploratory and experimental teaching and learning practices, the lab draws together a multidisciplinary team of collaborators and wider users of our work, to drive lateral thinking and radical approaches to address the challenges facing higher education.
Within this context, the lab focuses on how both mainstream and alternative approaches and technologies are explored, repurposed and remixed towards conceptualising a more hybrid and open approach to teaching and learning, in order to meet a wide range of stakeholders' needs and expectations.
This talk seeks to act as a catalyst for change, instigating an alternative mindset and creative attitude to challenge the existing status quo, to open up education and empower students and staff to re-model existing and own their teaching and learning practices in a networked age.
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Open & Hybrid Publishing: Photomediations Education Space
This event held at the Future Classroom Lab, an inspirational learning environment in Brussels, challenging visitors to rethink the role of pedagogy, technology and design in their classrooms. The demonstrators and pilots that have been created within the EuropeanaSpace project will be showcased live in this experimental setting.
I presented on behalf of the Open & Hybrid Publishing pilot on our Photomediations educational work. The presentation covered the Open Book, The Reader, the Creative Jams and finally culminating in the development of the Exhibition Space.
Photography and Education @National Photography Symposium
This presentation introduces aspects from the pioneering work of his Disruptive Media Learning Lab which acts as an agent of change for new models for education, teaching and research, and other innovations in pedagogy, in the fields of photography and culture.
A Creative Call for Photomediations
When: 22nd February 2016
Where: Photography Studies College, Melbourne.
A brief introduction to the creative call for Photomediations: An Open book, part of the EuropeanaSpace project.
Photomediations Open Book - update
A concise slide deck presented 9th December in Tallinn, Estonia. The visuals offer a summary of the recent work on the Europeana Space collaborative pilot project between Goldsmiths and Coventry University.
The presentation highlighted a recent evaluation workshop which evaluated the book and informed the plans and preparation for the 'creative call' and exhibition phase of the project.
Introduction to the Disruptive Media Learning Lab's November Expo
This is my slide deck prompts for my informal welcome to our guests at yesterday's November Expo - where we were able to share a forum and a platform with our student body exploring and understanding our motivations for learning. The audio/visual experience from the event will be available shortly on our dmll.org.uk site to accompany these visuals.
Open to Disruption
The slide deck from the presentation I gave to the Media Faculty at Norwich University of the Arts, UK.
Open to Disruption is offered as a case study and catalyst to consider our roles and purposes within the Creative Arts Higher Education sector. Discussing recent practices that led to the creation of my NEWFOTOSCAPES publication together with my current research in collaboration with Goldsmiths, University of London. The final slides perhaps offer 8 key areas of concern that is occupying our minds within the Disruptive Media Learning Lab.
Open Access Roadshow: NEWFOTOSCAPES
Open Access Roadshow.
With Open Access now firmly on the agenda of HEFCE and RCUK in the lead up to REF2020, this is an ideal opportunity to learn more about Open Access publishing with several publishers and facilitators coming to the event.
All academics/practitioners/researchers working in arts and humanities fields are invited to come along and meet their publisher colleagues in an informal tell-and-show session. You will be able to see what their publishing programmes cover and learn about the experiences of authors who have published in Open Access outlets.
There will be short presentations from Prof. Gary Hall, Dr Rupert Gatti and Jonathan Shaw with the opportunity to speak with them to find out more about the implications and practicalities of open access publishing.
#eitherand - Innovative Pedagogy
Jonathan Shaw will explore what is at stake for the future of universities in the age of Open Education: OpenCourseWare, MOOCs, TED, Wikiversity, The Public School et al? If journalism and the music industries have already been disrupted by the development of digital technologies, and if the publishing industry is in the process of being disrupted now, will HE be next?
http://disruptivemedia.org.uk/our-take-on-disruption/
“Open Media: A Study in Disruption” published by Rowman and Littefield International 2014.
Risk taking workshop
When faced with a broken and out of date methodology, structure and systems, how do we as academics and practitioners find our purpose, value and relevance within 21st century higher education? In this workshop we will re-imagine what the art college should look like? Not in terms of it’s architectural characteristics, but rather the tools, skills we, as learners, educators and practitioners, will need to make this 'place' an effective, enjoyable environment to experiment and work together to help create and propel the next wave of creatives out into the big wide world!
Could we collectively devise the new art college that will put the present one out of business?
Creative Media Practice: Research into Practice into Teaching
A presentation prepared for the September Practice Residential held by the Centre for Excellence in Media Practice at Bournemouth University.
The talk charts my reflection on my son Joshua's question "Daddy, what is it that you do?" and my consequent desperation in articulating a suitable reply...
NEWFOTOSCAPES - An example of Open and Hybrid Publishing
Photography has never been a more dominant and embedded part of contemporary culture than
it is now. The Internet, digital technology and social media have amplified our ability to connect
and build communities, and sharing and communication of images has facilitated an exponential
growth in picture capture and digital distribution.
NEWFOTOSCAPES seeks to navigate the evolving topography surrounding the image in the
twenty-first century; offering a focused eye on the contemporary creative author-curator and
image-maker and on the possibilities afforded by an increasingly complex professional landscape.
Jonathan Shaw advocates a new way of thinking about photographic production and education in
a post-digital era.
NEWFOTOSCAPES is a collection of curated texts arising from a series of in-depth
conversations with key stakeholders in, and influential commentators on, photography including:
Charlotte Cotton, Dewi Lewis, Mishka Henner, Stephen Mayes and Katrina Sluis. Perspectives
and views cover a wide range of topics such as; agencies, appropriation, archives, community,
curation, governance, licensing, mobile, networked-image, open education, photobooks, power
and value.
NEWFOTOSCAPES employs three key terms, Catalyst, Encounter, Antennae, in an attempt to
explore the potential for process-orientated thinking, beyond the confines of the linear
experience found within the traditional sequential, paginated and bounded leaves of the ‘book’.
Catalyst identifies the impetus for the NEWFOTOSCAPES encounters; Encounter, the knowledge
container encapsulated in the form of the curated transcripts with each collaborator; Antennae is
conceived to engender flow, enable adaptation and connection to the evolving photography
discussions.
This talk will reflect upon and explore the motivations, rational and methodology in the creation
and development of an open, ‘fluid’ and hybrid publication. It is aimed at people who are
interested in exploring how the practitioner led educator may have privileged insights into
defining new practices for a fast changing photographic landscape.
NEWFOTOSCAPES is an innovative research partnership between GRAIN Photography Hub
at the Library of Birmingham, Coventry University and Jonathan Shaw.
http://newfotoscapes.org
NEWFOTOSCAPES Book Launch
Book Launch and Panel Discussion
29th April 2014
Library of Birmingham
NEWFOTOSCAPES
Photography has never been a more dominant and embedded part of contemporary culture than it is now. The Internet, digital technology and social media have amplified our ability to connect and build communities, and sharing and communication of images has facilitated an exponential growth in picture capture and digital distribution.
NEWFOTOSCAPES seeks to navigate the evolving topography surrounding the image in the twenty-first century; offering a focused eye on the contemporary creative author-curator and image-maker and on the possibilities afforded by an increasingly complex professional landscape. Jonathan Shaw advocates a new way of thinking about photographic production and education in a post-digital era.
NEWFOTOSCAPES is a collection of curated texts arising from a series of in-depth conversations with key stakeholders in, and influential commentators on, photography. Perspectives and views cover a wide range of topics such as; agencies, appropriation, archives, community, curation, governance, licensing, mobile, networked-image, open education, photobooks, power and value.
Opening the doors to visible and connected learning v.2
This is an updated talk which reflects upon and explores the motivations, rational and strategies for development and support of open, online courses using arts, media and design education as a case study.
It's original audience came from a wide variety of backgrounds from, arts, architecture, engineering, medicine and nursing. It therefore seeks to explore how the practitioner led educator may have privileged insights into defining new practices for a fast changing higher education landscape.
Two Ways of Life Symposium
These are the slides from the presentation I was invited to give at the Two Ways of Life Symposium. The talk explored the opportunities that can arise if and when we adopt new mindsets for photographers and photography in a digital era. I was also able to offer a sneak peek to my latest project in partnership with GRAIN (The Photography Hub).
This event has been developed in the context of the exhibition ‘From Darkroom to Digital’ at Wolverhampton Art Gallery, which is co-curated by Wolverhampton Photographic Society, and features Oscar Rejlander’s pioneering composite picture ‘The Two Ways of Life’. This one-day event will enable photographers to explore and discuss analogue and digital image making, engage with professionals in critical debate and seek advice on their own career and portfolio development.
Our presenters and leading experts are Paul Herrmann (photographer, writer and Director of Redeye), Dean Kelland (artist, writer and teacher), Karen Newman (curator, writer and academic), Pete James (curator and writer) and Jonathan Shaw (artist, writer and academic).
A bric-a-brac approach to arts & media education!? (Draft)
When faced with a broken and out of date methodology, structure and systems, how do we as academics find our purpose, value and relevance within the 21st Century classroom or perhaps a more relevant question should be how would we re-imagine what that classroom could look like. Here, I am not meaning what shape of rectangle or square room and colour chairs or even what type of physical building, I am thinking what tools, skills will we, as learners and teachers, need to make this 'place' an effective, enjoyable environment to experiment and work together to help create and propel the next wave of creatives out into the big wide world!
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK1, Jonathan Shaw and his team seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary2 by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
SESSION
This conversation will reflect3 upon and explore the motivations, rational and strategies for development and support of open4, online courses specifically within context of arts, media and design education.
It is aimed at people who are interested in exploring how the practitioner led educator may have privileged insights into defining new practices for the fast changing higher education and professional landscapes.
OpenMedia Classes
Shaun Hides & Jonathan Shaw
Presented at the Digital Humanities Summer School, KU Leuven 19th September 2013
The Coventry Open Media Class project grew out of the Open Media philosophy and approach that the Department of Media at Coventry University has adopted over the last four years.
It is intended to capture a series of interconnected principles that inform all the work of our department. This is a distinctive, inclusive and strong academic direction and a positive professional and ethical stance for the Department of Media.
Open Media & Communication means:
Open Media – positive and innovative engagements with new media technologies and new media and cultural forms and relationships;
Sustainable Professional Practice – using emerging media practices and relationships and new professional models to develop sustainable flexible profiles, which engage critically with new communities of scholarship and practice.
Engagement - the active participation of staff and students in live and transformative projects and with diverse communities linking the delivery of content in traditional and new formats with projects that have a positive impact;
Globally Visible Media & Communication – using emerging media practices and networks to multiply and leverage the scope, scale and impact of our work.
Open Pedagogies – teaching and learning which is collaborative, media-enabled, expanded and Open we use innovative learning styles, incorporate the contributions of students and dialogue with leading scholars and professionals across the globe as well as libre material, crowd-sourcing, the strategic and reflective use of new technologies to develop extended communities and networks;
This approach has seen us review our entire teaching portfolio. We now emphasize developing the ability of our students to work flexibly and in mobile ways, with strategic insight into the transforming media landscape, to develop a sustainable practice in their field.
We have made changes on numerous levels:
focusing our teaching contact during the week to give students an intensive experience;
giving ‘branded’ dedicated base spaces for each course, enabling students to feel a sense of home and community;
offering professional project and international opportunities to all students;
relating all our teaching to our Applied Research, staff professional practice and the CU Digital Media Grand Challenge;
using new modes of teaching, learning, research, and practice;
making extensive use of supported mobile technologies – laptops, tablets and other devices available for students and staff.
Opening the doors to visible and connected learning
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK , Jonathan Shaw together with his colleagues Jonathan Worth and Matt Johnston seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
This workshop will reflect upon and explore the motivations, rational and strategies for development and support of open, online courses specifically within context of arts, media and design education.
It is aimed at people who are interested in exploring how the practitioner led educator may have privileged insights into defining new practices for a fast changing higher education landscape.
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4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。望着父亲山娃反问道父亲听了并不回答只是吃吃地笑山娃很精神越逛越起劲父亲却越逛越疲倦望着父亲呵欠连天的样子山娃也说困了累了回家吧小屋闷罐一般头顶上的三叶扇彻夜呜呜作响搅得满屋热气腾腾也搅得山娃心烦意乱父亲一上床就呼呼大睡山娃却辗转反侧睡不着山娃一次又一次摸索着爬起来一遍又一遍地用暖乎乎的冷水擦身往水泥地板上一勺一勺的洒水也不知过了多久山娃竟迷迷糊糊地睡着了迷迷糊糊地又闻到了闹钟刺耳的铃声和哐咣的关和
一比一原版(UniSA毕业证)南澳大学毕业证成绩单如何办理
UniSA毕业证【微信95270640】（南澳大学毕业证高仿学位证书((+《Q微信95270640》))）购买UniSA毕业证修改UniSA成绩单购买南澳大学毕业证办UniSA文凭办高仿毕业证南澳大学毕业证购买修改成绩单挂科退学如何进行学历认证留学退学办毕业证书/ 出国留学无法毕业买毕业证留学被劝退买毕业证（非正常毕业教育部认证咨询） University of South Australia
办国外南澳大学南澳大学毕业证假文凭教育部学历学位认证留信认证大使馆认证留学回国人员证明修改成绩单信封申请学校offer录取通知书在读证明offer letter。
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2雅思成绩单托福成绩单OFFER在读证明等留学相关材料（申请学校转学甚至是申请工签都可以用到）。
3.毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金高精仿度跟学校原版100%相同。
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国外南澳大学南澳大学毕业证假文凭办理过程：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。让我们的父母幸福快乐地度过一生挽着清风芒耀似金的骄阳如将之绽放的花蕾一般静静的从远方的山峦间缓缓升起这一片寂静的城市默默的等待着它的第一缕光芒将之唤醒那飘散在它前方的几层薄云像是新娘的婚纱一般为它的光芒添上了几分淡淡的浮晕在悄无声息间这熙和的阳光默默的照射在大地上像是母亲的手轻轻抚摸熟睡中的孩子般柔情似水五月的盛夏从这一缕柔情中揭开了第一抹的清香清晨本是繁华喧闹的街道此时只有稀薄的人群围着冒着层聋
More Related Content
More from Jonathan Shaw
A story of an experimental learning laboratory...
Keynote
Aberystwyth University
6th Annual Teaching and Learning Conference
11-12th September 2018
Abstract
Over the last four years the Disruptive Media Learning Lab has evolved and has strived to reposition and reconfigure education at Coventry University (CU) within the rapidly changing technological, social, economic and political contexts shaping the learning landscape. The lab has created a safe space and cultivated a culture in which open collaboration and innovation are the key attributes of its research, development and pathfinder projects. As a sandpit and incubator of exploratory and experimental teaching and learning practices, the lab draws together a multidisciplinary team of collaborators and wider users of our work, to drive lateral thinking and radical approaches to address the challenges facing higher education.
Within this context, the lab focuses on how both mainstream and alternative approaches and technologies are explored, repurposed and remixed towards conceptualising a more hybrid and open approach to teaching and learning, in order to meet a wide range of stakeholders' needs and expectations.
This talk seeks to act as a catalyst for change, instigating an alternative mindset and creative attitude to challenge the existing status quo, to open up education and empower students and staff to re-model existing and own their teaching and learning practices in a networked age.
http://dmll.org.uk
Open & Hybrid Publishing: Photomediations Education Space
This event held at the Future Classroom Lab, an inspirational learning environment in Brussels, challenging visitors to rethink the role of pedagogy, technology and design in their classrooms. The demonstrators and pilots that have been created within the EuropeanaSpace project will be showcased live in this experimental setting.
I presented on behalf of the Open & Hybrid Publishing pilot on our Photomediations educational work. The presentation covered the Open Book, The Reader, the Creative Jams and finally culminating in the development of the Exhibition Space.
Photography and Education @National Photography Symposium
This presentation introduces aspects from the pioneering work of his Disruptive Media Learning Lab which acts as an agent of change for new models for education, teaching and research, and other innovations in pedagogy, in the fields of photography and culture.
A Creative Call for Photomediations
When: 22nd February 2016
Where: Photography Studies College, Melbourne.
A brief introduction to the creative call for Photomediations: An Open book, part of the EuropeanaSpace project.
Photomediations Open Book - update
A concise slide deck presented 9th December in Tallinn, Estonia. The visuals offer a summary of the recent work on the Europeana Space collaborative pilot project between Goldsmiths and Coventry University.
The presentation highlighted a recent evaluation workshop which evaluated the book and informed the plans and preparation for the 'creative call' and exhibition phase of the project.
Introduction to the Disruptive Media Learning Lab's November Expo
This is my slide deck prompts for my informal welcome to our guests at yesterday's November Expo - where we were able to share a forum and a platform with our student body exploring and understanding our motivations for learning. The audio/visual experience from the event will be available shortly on our dmll.org.uk site to accompany these visuals.
Open to Disruption
The slide deck from the presentation I gave to the Media Faculty at Norwich University of the Arts, UK.
Open to Disruption is offered as a case study and catalyst to consider our roles and purposes within the Creative Arts Higher Education sector. Discussing recent practices that led to the creation of my NEWFOTOSCAPES publication together with my current research in collaboration with Goldsmiths, University of London. The final slides perhaps offer 8 key areas of concern that is occupying our minds within the Disruptive Media Learning Lab.
Open Access Roadshow: NEWFOTOSCAPES
Open Access Roadshow.
With Open Access now firmly on the agenda of HEFCE and RCUK in the lead up to REF2020, this is an ideal opportunity to learn more about Open Access publishing with several publishers and facilitators coming to the event.
All academics/practitioners/researchers working in arts and humanities fields are invited to come along and meet their publisher colleagues in an informal tell-and-show session. You will be able to see what their publishing programmes cover and learn about the experiences of authors who have published in Open Access outlets.
There will be short presentations from Prof. Gary Hall, Dr Rupert Gatti and Jonathan Shaw with the opportunity to speak with them to find out more about the implications and practicalities of open access publishing.
#eitherand - Innovative Pedagogy
Jonathan Shaw will explore what is at stake for the future of universities in the age of Open Education: OpenCourseWare, MOOCs, TED, Wikiversity, The Public School et al? If journalism and the music industries have already been disrupted by the development of digital technologies, and if the publishing industry is in the process of being disrupted now, will HE be next?
http://disruptivemedia.org.uk/our-take-on-disruption/
“Open Media: A Study in Disruption” published by Rowman and Littefield International 2014.
Risk taking workshop
When faced with a broken and out of date methodology, structure and systems, how do we as academics and practitioners find our purpose, value and relevance within 21st century higher education? In this workshop we will re-imagine what the art college should look like? Not in terms of it’s architectural characteristics, but rather the tools, skills we, as learners, educators and practitioners, will need to make this 'place' an effective, enjoyable environment to experiment and work together to help create and propel the next wave of creatives out into the big wide world!
Could we collectively devise the new art college that will put the present one out of business?
Creative Media Practice: Research into Practice into Teaching
A presentation prepared for the September Practice Residential held by the Centre for Excellence in Media Practice at Bournemouth University.
The talk charts my reflection on my son Joshua's question "Daddy, what is it that you do?" and my consequent desperation in articulating a suitable reply...
NEWFOTOSCAPES - An example of Open and Hybrid Publishing
Photography has never been a more dominant and embedded part of contemporary culture than
it is now. The Internet, digital technology and social media have amplified our ability to connect
and build communities, and sharing and communication of images has facilitated an exponential
growth in picture capture and digital distribution.
NEWFOTOSCAPES seeks to navigate the evolving topography surrounding the image in the
twenty-first century; offering a focused eye on the contemporary creative author-curator and
image-maker and on the possibilities afforded by an increasingly complex professional landscape.
Jonathan Shaw advocates a new way of thinking about photographic production and education in
a post-digital era.
NEWFOTOSCAPES is a collection of curated texts arising from a series of in-depth
conversations with key stakeholders in, and influential commentators on, photography including:
Charlotte Cotton, Dewi Lewis, Mishka Henner, Stephen Mayes and Katrina Sluis. Perspectives
and views cover a wide range of topics such as; agencies, appropriation, archives, community,
curation, governance, licensing, mobile, networked-image, open education, photobooks, power
and value.
NEWFOTOSCAPES employs three key terms, Catalyst, Encounter, Antennae, in an attempt to
explore the potential for process-orientated thinking, beyond the confines of the linear
experience found within the traditional sequential, paginated and bounded leaves of the ‘book’.
Catalyst identifies the impetus for the NEWFOTOSCAPES encounters; Encounter, the knowledge
container encapsulated in the form of the curated transcripts with each collaborator; Antennae is
conceived to engender flow, enable adaptation and connection to the evolving photography
discussions.
This talk will reflect upon and explore the motivations, rational and methodology in the creation
and development of an open, ‘fluid’ and hybrid publication. It is aimed at people who are
interested in exploring how the practitioner led educator may have privileged insights into
defining new practices for a fast changing photographic landscape.
NEWFOTOSCAPES is an innovative research partnership between GRAIN Photography Hub
at the Library of Birmingham, Coventry University and Jonathan Shaw.
http://newfotoscapes.org
NEWFOTOSCAPES Book Launch
Book Launch and Panel Discussion
29th April 2014
Library of Birmingham
NEWFOTOSCAPES
Photography has never been a more dominant and embedded part of contemporary culture than it is now. The Internet, digital technology and social media have amplified our ability to connect and build communities, and sharing and communication of images has facilitated an exponential growth in picture capture and digital distribution.
NEWFOTOSCAPES seeks to navigate the evolving topography surrounding the image in the twenty-first century; offering a focused eye on the contemporary creative author-curator and image-maker and on the possibilities afforded by an increasingly complex professional landscape. Jonathan Shaw advocates a new way of thinking about photographic production and education in a post-digital era.
NEWFOTOSCAPES is a collection of curated texts arising from a series of in-depth conversations with key stakeholders in, and influential commentators on, photography. Perspectives and views cover a wide range of topics such as; agencies, appropriation, archives, community, curation, governance, licensing, mobile, networked-image, open education, photobooks, power and value.
Opening the doors to visible and connected learning v.2
This is an updated talk which reflects upon and explores the motivations, rational and strategies for development and support of open, online courses using arts, media and design education as a case study.
It's original audience came from a wide variety of backgrounds from, arts, architecture, engineering, medicine and nursing. It therefore seeks to explore how the practitioner led educator may have privileged insights into defining new practices for a fast changing higher education landscape.
Two Ways of Life Symposium
These are the slides from the presentation I was invited to give at the Two Ways of Life Symposium. The talk explored the opportunities that can arise if and when we adopt new mindsets for photographers and photography in a digital era. I was also able to offer a sneak peek to my latest project in partnership with GRAIN (The Photography Hub).
This event has been developed in the context of the exhibition ‘From Darkroom to Digital’ at Wolverhampton Art Gallery, which is co-curated by Wolverhampton Photographic Society, and features Oscar Rejlander’s pioneering composite picture ‘The Two Ways of Life’. This one-day event will enable photographers to explore and discuss analogue and digital image making, engage with professionals in critical debate and seek advice on their own career and portfolio development.
Our presenters and leading experts are Paul Herrmann (photographer, writer and Director of Redeye), Dean Kelland (artist, writer and teacher), Karen Newman (curator, writer and academic), Pete James (curator and writer) and Jonathan Shaw (artist, writer and academic).
A bric-a-brac approach to arts & media education!? (Draft)
When faced with a broken and out of date methodology, structure and systems, how do we as academics find our purpose, value and relevance within the 21st Century classroom or perhaps a more relevant question should be how would we re-imagine what that classroom could look like. Here, I am not meaning what shape of rectangle or square room and colour chairs or even what type of physical building, I am thinking what tools, skills will we, as learners and teachers, need to make this 'place' an effective, enjoyable environment to experiment and work together to help create and propel the next wave of creatives out into the big wide world!
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK1, Jonathan Shaw and his team seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary2 by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
SESSION
This conversation will reflect3 upon and explore the motivations, rational and strategies for development and support of open4, online courses specifically within context of arts, media and design education.
It is aimed at people who are interested in exploring how the practitioner led educator may have privileged insights into defining new practices for the fast changing higher education and professional landscapes.
OpenMedia Classes
Shaun Hides & Jonathan Shaw
Presented at the Digital Humanities Summer School, KU Leuven 19th September 2013
The Coventry Open Media Class project grew out of the Open Media philosophy and approach that the Department of Media at Coventry University has adopted over the last four years.
It is intended to capture a series of interconnected principles that inform all the work of our department. This is a distinctive, inclusive and strong academic direction and a positive professional and ethical stance for the Department of Media.
Open Media & Communication means:
Open Media – positive and innovative engagements with new media technologies and new media and cultural forms and relationships;
Sustainable Professional Practice – using emerging media practices and relationships and new professional models to develop sustainable flexible profiles, which engage critically with new communities of scholarship and practice.
Engagement - the active participation of staff and students in live and transformative projects and with diverse communities linking the delivery of content in traditional and new formats with projects that have a positive impact;
Globally Visible Media & Communication – using emerging media practices and networks to multiply and leverage the scope, scale and impact of our work.
Open Pedagogies – teaching and learning which is collaborative, media-enabled, expanded and Open we use innovative learning styles, incorporate the contributions of students and dialogue with leading scholars and professionals across the globe as well as libre material, crowd-sourcing, the strategic and reflective use of new technologies to develop extended communities and networks;
This approach has seen us review our entire teaching portfolio. We now emphasize developing the ability of our students to work flexibly and in mobile ways, with strategic insight into the transforming media landscape, to develop a sustainable practice in their field.
We have made changes on numerous levels:
focusing our teaching contact during the week to give students an intensive experience;
giving ‘branded’ dedicated base spaces for each course, enabling students to feel a sense of home and community;
offering professional project and international opportunities to all students;
relating all our teaching to our Applied Research, staff professional practice and the CU Digital Media Grand Challenge;
using new modes of teaching, learning, research, and practice;
making extensive use of supported mobile technologies – laptops, tablets and other devices available for students and staff.
Opening the doors to visible and connected learning
In 2011 Peter Norvig and Sebastian Thrun at Stanford University shook up educational institutions by opening their doors to their ‘Introduction to Artificial Intelligence’ interactive MOOC (Massively Open Online Class). Two years earlier in the back of a converted cinema in the UK , Jonathan Shaw together with his colleagues Jonathan Worth and Matt Johnston seeking to enhance student engagement with photography and connect them with their wider professional networks, had explored a similar idea, allowing the world to peer into their classroom. Picturing the Body better known by its hashtag #picbod, a free and open undergraduate photography class was born. #picbod together with its sister open class #phonar (short for Photography and Narrative) are now referred to as Open Boundary by JISC as a third distinct thread running within the wider weave of what might be commonly termed MOOCs.
This workshop will reflect upon and explore the motivations, rational and strategies for development and support of open, online courses specifically within context of arts, media and design education.
It is aimed at people who are interested in exploring how the practitioner led educator may have privileged insights into defining new practices for a fast changing higher education landscape.
More from Jonathan Shaw (20)
Open & Hybrid Publishing: Photomediations Education Space
Open & Hybrid Publishing: Photomediations Education Space
Photography and Education @National Photography Symposium
Photography and Education @National Photography Symposium
Introduction to the Disruptive Media Learning Lab's November Expo
Introduction to the Disruptive Media Learning Lab's November Expo
Creative Media Practice: Research into Practice into Teaching
Creative Media Practice: Research into Practice into Teaching
NEWFOTOSCAPES - An example of Open and Hybrid Publishing
NEWFOTOSCAPES - An example of Open and Hybrid Publishing
Opening the doors to visible and connected learning v.2
Opening the doors to visible and connected learning v.2
Art School: The only limit when working creatively and commercially is the li...
Art School: The only limit when working creatively and commercially is the li...
A bric-a-brac approach to arts & media education!? (Draft)
A bric-a-brac approach to arts & media education!? (Draft)
Opening the doors to visible and connected learning
Opening the doors to visible and connected learning
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一比一原版(QUT毕业证)昆士兰科技大学毕业证成绩单如何办理
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国外毕业证学位证成绩单如何办理：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作昆士兰科技大学毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。望着父亲山娃反问道父亲听了并不回答只是吃吃地笑山娃很精神越逛越起劲父亲却越逛越疲倦望着父亲呵欠连天的样子山娃也说困了累了回家吧小屋闷罐一般头顶上的三叶扇彻夜呜呜作响搅得满屋热气腾腾也搅得山娃心烦意乱父亲一上床就呼呼大睡山娃却辗转反侧睡不着山娃一次又一次摸索着爬起来一遍又一遍地用暖乎乎的冷水擦身往水泥地板上一勺一勺的洒水也不知过了多久山娃竟迷迷糊糊地睡着了迷迷糊糊地又闻到了闹钟刺耳的铃声和哐咣的关和
一比一原版(UniSA毕业证)南澳大学毕业证成绩单如何办理
UniSA毕业证【微信95270640】（南澳大学毕业证高仿学位证书((+《Q微信95270640》))）购买UniSA毕业证修改UniSA成绩单购买南澳大学毕业证办UniSA文凭办高仿毕业证南澳大学毕业证购买修改成绩单挂科退学如何进行学历认证留学退学办毕业证书/ 出国留学无法毕业买毕业证留学被劝退买毕业证（非正常毕业教育部认证咨询） University of South Australia
办国外南澳大学南澳大学毕业证假文凭教育部学历学位认证留信认证大使馆认证留学回国人员证明修改成绩单信封申请学校offer录取通知书在读证明offer letter。
快速办理高仿国外毕业证成绩单：
1南澳大学毕业证+成绩单+留学回国人员证明+教育部学历认证（全套留学回国必备证明材料给父母及亲朋好友一份完美交代）;
2雅思成绩单托福成绩单OFFER在读证明等留学相关材料（申请学校转学甚至是申请工签都可以用到）。
3.毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金高精仿度跟学校原版100%相同。
专业服务请勿犹豫联系我！联系人微信号：95270640诚招代理：本公司诚聘当地代理人员如果你有业余时间有兴趣就请联系我们。
国外南澳大学南澳大学毕业证假文凭办理过程：
1客户提供办理信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）；
2开始安排制作毕业证成绩单电子图；
3毕业证成绩单电子版做好以后发送给您确认；
4毕业证成绩单电子版您确认信息无误之后安排制作成品；
5成品做好拍照或者视频给您确认；
6快递给客户（国内顺丰国外DHLUPS等快读邮寄）。让我们的父母幸福快乐地度过一生挽着清风芒耀似金的骄阳如将之绽放的花蕾一般静静的从远方的山峦间缓缓升起这一片寂静的城市默默的等待着它的第一缕光芒将之唤醒那飘散在它前方的几层薄云像是新娘的婚纱一般为它的光芒添上了几分淡淡的浮晕在悄无声息间这熙和的阳光默默的照射在大地上像是母亲的手轻轻抚摸熟睡中的孩子般柔情似水五月的盛夏从这一缕柔情中揭开了第一抹的清香清晨本是繁华喧闹的街道此时只有稀薄的人群围着冒着层聋
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...➒➌➎➏➑➐➋➑➐➐Dpboss Matka Guessing Satta Matka Kalyan Chart Indian Matka
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matta Matka Kalyan Chart Indian Matka Dpboss Matka Kalyan panel Chart Matka Guessing Satta Matka Domino Express Storyboard - TV Adv Toys 30"
Storyboard for a tv commercial about a toy "Domino Express"
A Brief Introduction About Hadj Ounis
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
In Focus_ The Evolution of Boudoir Photography in NYC.pdf
In Focus_ The Evolution of Boudoir Photography in NYC.pdfBoudoir Photography by Your Hollywood Portrait
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.一比一原版(qut毕业证)昆士兰科技大学毕业证如何办理
一模一样【q/微:1954292140】【(qut毕业证)昆士兰科技大学毕业证成绩单Offer】【q/微:1954292140】（留信学历认证永久存档查询）采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【q/微:1954292140】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【q/微:1954292140】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
→ 【关于价格问题（保证一手价格）
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
选择实体注册公司办理，更放心，更安全！我们的承诺：可来公司面谈，可签订合同，会陪同客户一起到教育部认证窗口递交认证材料，客户在教育部官方认证查询网站查询到认证通过结果后付款，不成功不收费！
Dino Ranch Storyboard / Kids TV Advertising
Storyboard produced for the TV commercial of a toy from the children's show “Dino Ranch”
Brushstrokes of Inspiration: Four Major Influences in Victor Gilbert’s Artist...
Throughout his career, Victor Gilbert was influenced heavily by various factors, the most notable being his upbringing and the artistic movements of his time. A rich tapestry of inspirations appears in Gilbert’s work, ranging from their own experiences to the art movements of that period.
2024 MATFORCE Youth Poster Contest Winners
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
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In Focus_ The Evolution of Boudoir Photography in NYC.pdf
In Focus_ The Evolution of Boudoir Photography in NYC.pdf
Cream and Brown Illustrative Food Journal Presentation.pptx
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This is a certificate template for Daily Vacation Bible School Awards Can edi...
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Who and what is BOM?
- 1. who ! & what is BOM?
- 15. www.bom.org.uk! www.disruptivemedia.org.uk karen@bom.org.uk! ! j.shaw@coventry.ac.uk