To wonder: a cartography of information technology as a hidden curriculum and its effect on learning environments for art education

Sennett, Ruben (2019-04)

Thesis (MA)--Stellenbosch University, 2019.

Thesis

ENGLISH ABSTRACT: During my artistic studies within the South African educational system, I gradually learnt how to voice the problems that ideologies and methodologies cause when used in the teaching of standardised curriculums. It became apparent that the interests of learners, exterior to the standardised curriculum, held greater educational value in terms of their personal development and challenging the unreasonable circumstances perpetuated by this system. In the particularity of the South African educational discourse exists the remnants of colonial influences and industrial era curriculums that generations of students must still contend with when pursuing their true educational goals and identities. Art students must revalue themselves and reconcile the damaging effect of this legacy in terms of realising what art is for themselves and how it features in their learning and social environments. Accordingly, the outcome of this exploration attempts to discover how the hidden curriculum of information technology may serve as an emancipatory tool. In the construction of this exploration, a cartographic methodology is used to inform the argument in terms of the political relations and contextual circumstances inherent within the narrative of curriculum discourses. To that effect, in order to disrupt obvious conclusions, a variety of theoretical perspectives and ontological perceptions are used to map the implications of the hidden curriculum. In this relation, with the comprised perspectives of parents, learners, teachers and students, it was discovered that the omnipresence of Information Technologies serves as an enticing creative and social tool in opposition to the failings of standardised curriculums. These existing curriculums have the effect of discouraging and misleading students about how art is to be practised and perceived. Students who are truly motivated to study art face the challenge of overcoming this discouragement by finding their own paths and may achieve this through technological tools. However, these tools are not inert and have the effect of creating new spaces for learning and cultural engagement. It is simultaneously explored how the effect of globalisation through social media platforms distort the perspectives of people in terms of art perception. In addition to how globalisation through social media continues into commercial art as becoming a highly valued standard as reflected in educational practices. A consequence of this media effect is the economy of fear where technology is seen for its dangers, as opposed to its intellectual and educational benefits. The perceptions of parents and students, however, provided a balanced juxtaposition to this fear by treating technology with reasonable moderation. Other implications arose in terms of what this new perspective could mean for educators, communities, decolonisation, ontology, identity and anthropological spaces.

AFRIKAANSE OPSOMMING: Gedurende my kunste studies binne die Suid Afikaanse onderwys stelsel, het ek geleidelik geleer hoe om die probleme aan te spreek wat ideologie en metodiek veroorsaak wanneer dit gebruik word binne in die gestandaardiseerde kurrikulums. Dit het duidelik geword dat die ander belangstellings van leerders, buite die gestandaardiseerde kurrikulums, blyk groter opvoedkundige waarde het in terme van hul persoonlike ontwikkeling en bevraagteken die onredelike stand van sake wat ewig voortleef in die stelsel. Binne die besonderse karakter van die Suid Afrikaanse onderwys diskoers bestaan die oorblyfsels van die koloniale invloed en industriële era kurrikulums wat generasies van studente nog steeds mee moet worstel in die strewe om opvoedkundige doelwitte te verwesentlik. Kuns studente moet hulself herevalueer en versoen met hierdie skadelike nalatenskap deur om te verstaan dat kuns „n persoonlike onderneming is en deur te bepaal hoe om dit te kenmerk binne in hul opleiding en sosiale omgewing. Daarvolgens, die doel van die eksplorasie poog om te bepaal hoe die verborge kurrikulum van inligtingstegnologie mag dien as 'n emansipatoriese instrument. In die konstruksie van hierdie eksplorasie word 'n kartografiese metodologie aangewend om die argument, in terme van die politieke verhoudinge en kontekstuele omstandighede inherent binne die verhaal van kurrikulum diskoerse, in te lig. Om sodoende voor die hand liggende gevolgtrekkings te ontwrig, word 'n verskeidenheid teoretiese perspektiewe en ontologiese persepsies gebruik om die implikasies van die verborge kurrikulum te karteer. In hierdie verband, met die saamgestelde perspektiewe van ouers, leerders, onderwysers en studente, is dit ontdek dat die alomteenwoordigheid van Inligtingstegnologieë dien as 'n aanloklike kreatiewe en sosiale hulpmiddel, in teenstelling met die gebreke van gestandaardiseerde kurrikulums. Die gevolg van bestaande kurrikulums het die effek om studente te ontmoedig en is misleidend oor hoe kuns beoefen en waargeneem moet word. Studente wat werklik gemotiveerd is om kuns te studeer, het die uitdaging om hierdie ontmoediging te oorkom om op hul eie manier deur middel van tegnologiese gereedskap hul kreatiewe doelwitte te bereik. Hierdie instrumente is egter nie passief nie en het die gevolg dat nuwe spasies vir leer en kulturele betrokkenheid geskep word. Daar word terselfdertyd ondersoek hoe die effek van globalisering deur sosiale media-platforms die perspektiewe van mense in terme van kunspersepsie verdraai. Benewens hoe globalisering deur sosiale media voortgaan in kommersiële kuns as 'n hoogs gewaardeerde standaard soos weerspieël word in opvoedkundige praktyke. „n Gevolg van hierdie media-effek is die ekonomie van vrees waar tegnologie gesien word vir sy gevare, in teenstelling met sy intellektuele en opvoedkundige voordele. Die persepsies van ouers en studente het egter 'n gebalanseerde teenstelling tot hierdie vrees gelewer, deur om die gebruik van tegnologie met redelike moderasie te behandel. Ander implikasies het ontstaan in terme van wat hierdie nuwe perspektief vir opvoeders, gemeenskappe, dekolonisasie, ontologie, identiteit en antropologiese ruimtes kan beteken.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/105935
This item appears in the following collections: