Abstract
What are the issues when faculty wishes to teach art students critical or alternative practices with newer technologies not yet widely available to the public? Can one teach alternative practices that consider social or personal contexts when the technologies are not yet publicly available? What other issues are involved when teaching art students to do fine art with such technologies, and when not training artists to do commercial work for the communications industry or mainstream media? What does it mean for the art students who wants to use these technologies for fine art to have ideas for their use, but with no access to them? Clearly many answers to these questions will be better understood in hindsight, when the said technologies are in place and questions around their social and cultural use have clear examples to study. I will use a class I am currently teaching on art and mobile technologies as an example from which to draw conclusions to some of the questions raised here. Other answers however, may be sought outside of the classroom, but within the infrastructures surrounding the classroom.
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