Communities of Practice, Gilly Salmon’s 5 stage model, E-tivities

Author: Joe Ryan Date: 17 November 2016 19:00:56 o’clock GMT Subject: CoP and Gilly Salmon 5 stage
With a Community of Practice within a group of artists, each artist may have more experience and expertise in a different form of printmaking and its respective skills which they could share within the group for exampla group may consist of people working in woodcuts, carborundum, etching, lithography, mezzotint but together they could share information and problem solve while learning each discipline from each other and together they form a vast knowledge bank accross the printmaking spectrum. Benefits include providing a network for sharing and exchanging skills as well as identifying knowledge gaps and where to connect with people with these sought after skills, possibly from other studios or arts organisations.

On a larger scale CoP’s would be applied to printmaking conferances where experts in their field would share their knowledge, and also on an International level through International print biennales which would also include an element of education and professional practice, through artist talks and lectures.

In later stages of Salmon’s model Info Exchange

Build up networks and links to specialist knowledge and resourses, if anyone within group does not have specific skills required, find out if anyone knows people who have skills firstly locally if not then identify where to look for people nationally and internationally, and simillarly with theorists in chosen field are they doing any conferances in city?, if not are they being streamed online? or being made available through podcasts?

Knowledge Construction

Making use of the resources and knowing where to look for and how to access any specialist knowledge and skills required. Where members of group are taking control of their own learning, but also actively seeking what they need for development of their projects.example To provide links for students but also to encourage them to seek out the required knowledge and develop contacts and networks within their chosen field of study.

These last two stages of model (knowledge construction and development) should flow naturally as they both deal with demonstrating learning outcomes and applying practical skills gained.


Form shared synthesis of the knowledge gained and experience of being a member of group and acquisition of online integrated skills. Ability to elaborate on acquired knowledge and also to incorporate it into students individual practices.

Although examples are not shown for e-tivities in model what i would recommend as an e-tivity would be for students to apply for international mini-print biennales (several now have online application and submission of initial images) beneficial for preparing and packing work to a set (small) standard and also experience of exhibiting internationally and main benefit for building up networks along with cross cultural practice.

Digital Artefact V.A.S.

When i first went to Virtual Art Space, i had to download a player before i could enter site, although the download did work straight away with no problems. I found the navigation toggle at times difficult to operate with a mouse as if feels to be designed more for a joystick, when using mouse it tends to zoom into walls and away from pictures, also it is difficult to get into video rooms, as it tends to bring you into next exhibitor instead, for looking at exhibitions it is probably better to use the guided tour option or the left and right buttons on screen to get to next picture. When using the zoom function pictures become pixelated, while in contrast in the video rooms , videos are clear and even cast shadow on floor, and sound is clear with added echo giving effect of being in a real gallery emmersive space, the only problem with videos is that they don’t load straight away and some come with a pop up about the load time being up to five minutes. The site also includes sections for artist C.V. s and biography along with contact details. The home page also provided an A-Z artist index , while this only shows 12 artist thumbnails per page and links there is also a search box for individual artists. While the Virtual Art Space only facilitates 2D, photographic and sculptural work, the real test for a 3D gallery would be to provide a platform for rendering installations consisting of 3D elements and multiple projections, whereby the viewer can view installation from different angles as well as from within as in the real world.

Setting up a gallery on site was fairly straightforward as pictures can be uploaded straight away without resizing, the gallery space comes in three different layouts for free version for 14, 16 or 20 works along with the option to upload video and sculpture within the same gallery space, the size of each video is capped at 20mb which restricts the size and length of video which requires checking file size and compression of files before uploading. The site also only accepts OGG files, while they do provide a converter there is no guide or information about different files, When i went to convert short video files , none of them would convert and there was only a very poor F.A.Q. section, Overall site is limited as it does not cater for other mediums while userability is good and ease of access for uploading and displaying 2D works this is let down by the problems with the video section.

Link to exhibition i created


Miriam Posner argues that Digital Humanities are using infrastructures and data models drawn from other disciplines such as business and questions the effectiveness of Google Maps, mainly because of the way in which it distorts space into a graph of longitude and latitude while flattening the model into a fixed single vision of the world and the surprising lack of visual alternatives being available, or what they would look like from different viewpoints if produced by different people with different viewpoints from locations around the world.

She makes points of computer interfaces choosing ease of use over critical engagement and problems of visualisations, which can easily convey quantities, but are not able to show differing opinions, or define difference. To overcome this, interfaces rely on a simplification of categorisation or to fit people into groups as in the census form (tick box that represents group and only allows black/white) Although the form asks the individual to self define what group they identify with, while at the same time limiting their possible answers, into a generalisation forming a means of control, as a person may identify with more than one group also limiting of tools and answers in this way does not give a clear picture of the actual ethnicity of the country mentioned (U.S)

In her Arts example of gender representing male, female and unknown, while attempting to provide some level of equality in that women are involved in the arts it bases gender on sex, but not orientation or what individuals may define themselves as, incidentally it adds an “unknown”, box similar to the “other”, in census form as if to reinforce predetermined norms dictated within society anyone that falls outside of these categories is placed outside.

Posner also suggests investigating models and visualisations of race and gender derived from place and peoples experience of living there, and how they vary from place to place and from different perspectives and that race and gender are not fixed categorisations but constructs that are fluid and develop over time and place while also calling for new ways of designing the archive instead of replicating existing models while questioning the power that these categorisations represent. While Posner discusses easy to use interfaces that lack the ability to examine how the structures of inequality and injustice still exist in the U.S. to combat this she argues for D.H. projects to be made stronger and powerful and that is inclusive of unrepresented communities.

When Posner mentions power relations and and how Digital Humanities needs to develop inclusive racial and gender theories which challenge and question existing power structures and are relevant to peoples lives today although theorists such as Michel Foucault done in depth analysis of power and control structures and how people act within them and society, Giorgio Agamben expanded on Foucault’s theory of apparatus (institutions, regulations, laws, forming a network of disciplinary structures which spread out throughout society until it became almost invisible) Agamben in his essay “What is an Apparatus”, added computers, mobile phones, literature, navigation anything that had the ability to control or capture the behaviours of living beings or that could form a network between the elements.



What’s Next: The Radical, Unrealized Potential of Digital Humanities

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<p>Fine artist working in interdisciplinary fields, printmaking, painting, film, installation. Exhibited extensively in Ireland, U.K., Europe, U.S., Asia and held in private collections and various public collections.</p>
<img src=””alt=”me” width=”400″height=”400″>
<a href=””> My WordPress Site.</a>
<h2>Favourite books</h2>


<li>War and Peace</li>
<li>The Great Gatsby</li>

<h2> Favourite films</h2>


<li>Strangers on a Train<li>
<dd>_black hot drink</dd>
<dd>-white cold drink</dd>
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Digital Humanities

Fine artist working in interdisciplinary fields, printmaking, painting, film, installation. Exhibited extensively in Ireland, U.K., Europe, U.S., Asia and held in private collections and various public collections.

me My WordPress Site.
Favourite books

War and Peace
The Great Gatsby
Favourite films

Strangers on a Train
_black hot drink
-white cold drink
Favourite book Author
War and Peace Leo Tolstoy
Catch 22 Joseph Heller

Jim Dator:“New beginnings” within a new normal for the four futures”

Sir Ken Robinson

Schools resemble factory line education resulting in children becoming bored and medicated just to past through system

outdated educational model

Argues towards divergent thinking- multiple answers to a question instead of linear thinking

Collaboration learning happens in groups
Jesse Schell

Psychological tricks used in free games such as Club Penguin while free to play online and player wins vistual money, but to spend virtual money have to become a paid member

Games breaking through into reality, search for authenticy guitar hero using (real) model of guitar

Technology cutting people off from real world, technologies diverging and branching out

Loyalty points turning everyday life into a game eg airline points shopping points
Jim Dator

Dator speaks of factors such as climate change, pollution which affect different versions of the future

The Unholy Trinity energy, environment and economics plus one- governance not separate issues but all one dependent on each other

How people focused on old technologies for producing energy energy for profit, regardless of impact on environment.

Hawaii was self sufficient through its management systems of farming and fishing up til colonisation and intregration into U.S. when it then became relient on imports

Agricultural land given over to housing, few people have land or farming skills, Hawaii only has a limited food supply, from local produce, which would last a few days if cut off from mainland.

Last 100 years humans have changed the way in which Earth’s atmosphere operates due to advancing technologies.

People in Hawaii have learned to recognise energy collapse and have developed strategies to cope with being cut off from mainland, such as growing own food, forming collaborative groups which would pool resources during emergencies and doing so becoming self sufficient again.

This impact not only affects the present but thousands of years into future.