One year ago, in my last post here, I wrote “posting sparsely, sending love.” And I still am. It’s been another incredibly busy year and the world continues to feel increasingly complex. I’m focused on deepening my media literacy teaching in light of this complexity. Yet outside of teaching, research, and countless service activities, there is my art practice– which […]
“Posting sparsely, sending love.” I recently shared these words in my Instagram stories to express honor and gentle acknowledgement for the aching losses and trauma experienced in our country this spring. As a media literacy and technology scholar, I’ll often engage in periods where I participate sparingly in online spaces. While this may seem incongruous– the media teacher who only
What color would you call this? Aqua? Teal? Turquoise? Just look at that vibrant Robin’s egg blue! It’s almost impossible to define it using just one name. Cyan? This in-between color reminds me of key ideas in media literacy education, along with implications for practice. That audiences are involved in the processes of making meaning is perhaps the most exciting
Ochre is a favorite pigment for painting and printing. It’s variations are expansive. Mix in a little white for a light sandy brown or yellowish hue. Add a tad of red to create a sharp, yet warm, sienna. Ochre is not only versatile in visual artworks and imagery, but also ancient with a vast history in the visual expressions of
When I notice pink, I feel delighted. I feel inspired. Yet, pink is so often degraded as social structures have aligned this color with all that is female. It is defined in American culture as a color of and relating to femininity or woman-ness and is therefore flighty, skittish, silly, or even weak. “Boys don’t wear pink.” But I don’t
