Academic journal article CEPS Journal : Center for Educational Policy Studies Journal

Adoption of the Creative Process According to the Immersive Method

Academic journal article CEPS Journal : Center for Educational Policy Studies Journal

Adoption of the Creative Process According to the Immersive Method

Article excerpt

Introduction

Visual education does not typically incorporate the strategies students use in everyday life in the visual culture that has been created by new media technologies. The production and development of ideas is omitted, there is no discussion on ways of creating art (Freedman, 2003), no analysis of art's connections with social, cultural and political subjects and contexts, and no perception of society and the individual as a whole. Mere data transfer omits emotions from the learning process, it fails to develop intuitive processes, flexibility, fluency, originality or operationalisation capabilities, and it does not prepare students for active participation in society. The impression of an artwork as a communication channel with the environment is missing; there is not expression of thoughts and feelings, so there is no sublimation effect and self-actualisation. Visual education must therefore be steered towards the development of cognitive processes that include the psycho-biological and socio-cultural aspects necessary for orientation in contemporary postmodern society, so that students can become involved in their environment on multiple levels. With this in mind, visual education should take into account the powerful didactic character of visual culture and adopt creative processes and strategies from contemporary art in the development of students' creativity, enabling expression and communication with the environment and its active modification in order to establish a contemporary society with better qualities. All of this is taken into account in the immersive method.

The Immersive Method

The term "immersion" (Lat. immergere) primarily describes the effects of digital technology (new media): description of VR (virtual reality), installation art, video games, user interfaces, 3D computer graphics and various types of simulators (e.g., driving, flying, educational content simulators). It is a term that defines a mental condition in which consciousness of the physical "I" vanishes or is lost in thoroughly penetrating the environment. The experience of immersion includes total presence and separation from the external physical world, deep inclusion and preoccupation; it provides information or multiplesensory stimulation. Immersion is among the key strategies of contemporary new media art (Strehovec, 2003).

In educational philosophy, the "immersive" experience - comprehensive immersion in the contemporary new media environment (Strehovec, 2003) - is an aesthetic experience, a total experience that has a beginning, a process and a conclusion (Dewey, 1934/2005). In the case of art, this is the experience of a thorough creative process that has self-actualisation and sublimation as its ultimate effect, in the sense of identification with that which is expressed (Maslow, 1968/1999). In psychology, it is an "optimal experience based on the concept of flow - the state in which people are so involved in an activity that nothing else seems to matter" (Csikszentmihalyi, 1990, p. 4), "Concentration is so intense that there is no attention left over to think about problems. Self-consciousness disappears, and the sense of time becomes distorted. An activity that produces such experiences is so gratifying that people are willing to do it for its own sake" (Csikszentmihalyi, 1990, p. 71). Didactics achieves a similar effect in classes that include not only intellectual (cognitive), but also emotional experiences (Poljak, 1991), transfer (Tacol, 2003) and intrinsic motivation.

The starting points of the immersive method are:

1) From visual culture and contemporary new media art, the immersive method borrows the communication effects of images as an exchange of meanings and concepts. It also takes algorithmic thinking in the sense of a permanent selection of ways to handle visual, verbal and audible "units" of information (Strehovec, 2003), that is, figurative, symbolic, semantic and behavioural information (Guilford, 1968). …

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