Visuell kultur är i dag en central del av skolämnet bild och kan användas för att beskriva både de visuella uttryck som omger oss och metoder för att skapa och visualisera ny kunskap. I den här boken lyfter författarna fram visuell kultur både som ett kunskapsobjekt och som en undersökningsmetod. Boken erbjuder ingångar till olika sätt att arbeta med bild i grund­skolan. Alla kapitel innehåller konkreta förslag på uppgifter eller övningar som kan anpassas och utvecklas vidare. Boken riktar sig till lärarstudenter och verksamma lärare i F-6 och på fritidshem. Den kan användas både i bildundervisning och i ämnes­övergripande eller tematiska projekt. Redaktörerna forskar inom området visuell kultur och har alla tre erfarenhet av att undervisa blivande lärare i bild mot yngre åldrar och fritidshem.

This article focuses on developing the idea process in visual art education by using digital peer feedback. In the school subject visual art, the visual idea process, e.g. when students sketch their ideas, is an important phase in a project. When an idea takes form, there is the possibility for considering the idea in a new way, for others to study and discuss it, and most importantly, for generating new ideas. By digitally sharing their visual ideas and providing feedback, students might become more aware of their own and others' processes. This study aimed to explore how eighth-grade students develop and share visual ideas supported by digital peer feedback. Thematic analysis was used to identify different types of feedback provided by students. A qualitative survey was used to investigate student perceptions of the feedback. Many students appreciated receiving feedback from peers. Some students made significant or minor changes to their visual ideas based on the peer feedback, while other students abandoned their initial sketches and created entirely new ones, or did not make any changes to their initial idea. These results suggest that giving and receiving peer feedback is something that needs to be practiced in different specific school subjects. 

Estonia has since the liberation from the Soviet Union in 1991 successfully branded itself as a digital society and an education nation. This transformation builds on a sociotechnical imaginary where the progression of learning and the advancement of future citizens is postulated by a restructuring of the classroom through digital solutions. In this case study, we look at a prototype of a future classroom that was set up at the Estonian pavilion at the world fair EXPO 2020 in Dubai, as part of a nation branding process, promoting the nation's educational system and prosperous ed-tech sector. The future classroom was promoted using slogans and futuristic visuals that targeted foreign investors and policy makers, in a way that suggested that the anticipated digital future already exists in Estonia, and therefore, is available for foreign investment, while at the same time connecting to a national and historical narrative of Estonia as part of the European cultural sphere.

This chapter is a reading of one of Marshall McLuhan’s more experimental texts, The Medium Is the Massage (1967). The book comprises photographs, cartoons, collages and short texts that illustrate one of the key ideas in medium theory: namely, that media are environments that expand our senses and our way of organising time and space. This chapter discusses the relevance of this perspective in the hypermediated society of today and describes the theoretical legacy of McLuhan and medium theory in contemporary technology-oriented media research. It also addresses the context in which the book was written and attempts to nuance the contemporary understanding of McLuhan’s writing as techno deterministic. The Medium Is the Massage can serve as an introduction to McLuhan’s other work and is discussed here as a pedagogical text of relevance, not least for media education.

Virtual reality (VR) in educational settings is often promoted by commercial actors as a way to experience environments outside the classroom and a soon-to-be part of everyday teaching and learning. This study follows the development of an educational software package in a Swedish municipality that combines VR technology with 360° live footage from museums and science centers to enable students to visit these spaces from the classroom via their headsets. By focusing on the workarounds and configurations intuitively performed by teachers, students, museum staff, and technicians in this pilot project, different kinds of articulation work performed to make the technology fit with local conditions are identified, from hands-on repair and maintenance to the facilitation of interaction and presence. The collective effort put into making the technology disappear and create a feeling of unmediated experience or immediacy shows how global imaginaries about VR as an immersive technology are enacted by the participants, at the same time as the work put into the project made them challenge the idea of VR as a new everyday technology. This tension between the desire for immediacy and the hands-on work in the physical environment that goes into fulfilling these imaginaries points to the need for local production of educational technologies that recognizes their co-constructive, embodied, and situated nature.

Taking stock of media activist initiatives in the Southwest Asia and North Africa (SWANA) region, this article discusses findings from case study research informing the media education platform “diraya.media.” Through participatory methodology, the case studies and the bilingual (Arabic/English) website aim to analyze and strengthen local media literacy pedagogies by learning with and from media activists in the region. This article reports on six case studies of SWANA-based media activist organizations and pedagogical material for the media literacy classroom. The goal is to reflect and discuss the methodological and theoretical ramifications of Diraya as a pedagogical space for reflection and knowledge exchange between media activists and other learners in the region and beyond. Drawing on the participating activists’ experiences, Diraya is embedded in the turn toward radical media education and civic media literacies, contributing to (1) de-Westernizing media literacy education, (2) creating more learning materials based on local activist knowledge as important resources to increase media literacy, and (3) enabling of long-term collaborations by archiving and making public experiences from SWANA-based media activists.