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The models of the cyborg, the clone, and the
parasite provide the reader with an analysis of
educational and digital spaces, drawing comparisons
between the centralized, hierarchical networks
typically reinforced in classrooms and those that
are decentralized and rhizomatic such as the
Internet. In order to extend this analysis, network
theory is compared to the structure of an
introductory university art course that is informed
by aspects of critical pedagogy. Drawn from
practical examples generated in the classroom,
popular media, and the world of contemporary art,
the social effects of developing technologies are
then interpreted through three shifts that have
accompanied the mechanical reproduction of artworks
throughout the 20th century. The shifts in notions
of authorship, authenticity, and authority lead to a
discussion of similar effects that have accompanied
the widespread use of digital networks, and how
these networks might work within a critical pedagogy
based approach to 21st century art education.
parasite provide the reader with an analysis of
educational and digital spaces, drawing comparisons
between the centralized, hierarchical networks
typically reinforced in classrooms and those that
are decentralized and rhizomatic such as the
Internet. In order to extend this analysis, network
theory is compared to the structure of an
introductory university art course that is informed
by aspects of critical pedagogy. Drawn from
practical examples generated in the classroom,
popular media, and the world of contemporary art,
the social effects of developing technologies are
then interpreted through three shifts that have
accompanied the mechanical reproduction of artworks
throughout the 20th century. The shifts in notions
of authorship, authenticity, and authority lead to a
discussion of similar effects that have accompanied
the widespread use of digital networks, and how
these networks might work within a critical pedagogy
based approach to 21st century art education.