In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn't the message-what really matters is the degree to which the viewer can sense a creative hand in the art.
First published in 1992, this book shows that despite appearances and beliefs to the contrary, teachers go in for career planning just as systematically as the members of any other profession and that the career movement of teachers is patterned not random. It demonstrates that status and rewards matter, but so do teaching locations and conditions and that the costs and benefits of both vertical and horizontal mobility are carefully calculated. In doing so, it argues that explicit and defensible criteria for appointment and promotion are important in maintaining and enhancing teacher morale and effectiveness in a rapidly changing world.
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