{"@context":{"aiiso":"http:\/\/purl.org\/vocab\/aiiso\/schema#","arm":"https:\/\/ld4p.github.io\/arm\/core\/ontology\/0.1\/","bf":"http:\/\/id.loc.gov\/ontologies\/bibframe\/","bib":"https:\/\/bibliotek-o.org\/","bibo":"http:\/\/purl.org\/ontology\/bibo\/","cito":"http:\/\/purl.org\/spar\/cito\/","classSchemes":"http:\/\/id.loc.gov\/vocabulary\/classSchemes","dbo":"http:\/\/dbpedia.org\/ontology\/","dce":"http:\/\/purl.org\/dc\/elements\/1.1\/","dcmitype":"http:\/\/dublincore.org\/documents\/2000\/07\/11\/dcmi-type-vocabulary\/#","dcterms":"http:\/\/purl.org\/dc\/terms\/","ebucore":"http:\/\/www.ebu.ch\/metadata\/ontologies\/ebucore\/ebucore","edm":"http:\/\/www.europeana.eu\/schemas\/edm\/","foaf":"http:\/\/xmlns.com\/foaf\/spec\/#","frap":"http:\/\/purl.org\/cerif\/frapo","identifiers":"http:\/\/id.loc.gov\/vocabulary\/identifiers","ids":"http:\/\/id.loc.gov\/vocabulary\/identifiers\/","opaque":"http:\/\/opaquenamespace.org\/","pcdm":"http:\/\/pcdm.org\/models#","phaidra":"https:\/\/phaidra.org\/ontology\/","rdam":"http:\/\/rdaregistry.info\/Elements\/m\/","rdau":"http:\/\/rdaregistry.info\/Elements\/u\/","rdax":"http:\/\/rdaregistry.info\/Elements\/x\/","rdf":"http:\/\/www.w3.org\/1999\/02\/22-rdf-syntax-ns#","rdfs":"https:\/\/www.w3.org\/TR\/rdf-schema\/","relators":"http:\/\/id.loc.gov\/vocabulary\/relators","role":{"@context":{"aut":{"@container":"@list","@id":"http:\/\/id.loc.gov\/vocabulary\/relators\/aut"}}},"schema":"http:\/\/schema.org\/","skos":"http:\/\/www.w3.org\/2004\/02\/skos\/core#","skosxl":"http:\/\/www.w3.org\/2008\/05\/skos-xl"},"@id":"https:\/\/e-book.fwf.ac.at\/o:1990","bf:note":[{"@type":"bf:Note","skos:prefLabel":[{"@language":"deu","@value":"Digitale Bilder sind allgegenwärtig und treten seit der Verbreitung mobiler Devices häufig als schlecht aufgelöste, vielfach\nbearbeitete digitale Kopien auf. Ausgehend von Hito Steyerls Begriff des »poor image« analysiert Helena Schmidt deren\nGebrauch und Potenzial in der Kunstvermittlung der postdigitalen Gegenwart. Die multiperspektivisch nachgezeichnete\nEntwicklungsgeschichte vom »poor image« hin zu »poor images« bietet Nährboden für eine zukunftweisende Didaktik der\nDigitalität."}]},{"@type":"bf:Note","skos:prefLabel":[{"@language":"eng","@value":"Digital images are ubiquitous and, since the spread of mobile devices, often appear as poorly resolved, frequently edited digital\ncopies. Based on Hito Steyerl's concept of the »poor image«,Helena Schmidt analyses their use and potential in the art education of the post-digital present. The multi-perspective history of the development from the »poor image« to »poor images« provides the basis for a future-oriented didactics of digitality."}]}],"bf:provisionActivity":[{"@type":"bf:Publication","bf:agent":[{"@type":"schema:Organization","schema:name":[{"@value":"transcript Verlag"}]}],"bf:date":["2024-12-27"],"bf:place":[{"@type":"schema:Place","skos:prefLabel":[{"@value":"Bielefeld"}]}]}],"dce:subject":[{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Bildung"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Digital Visual Literacy"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Digitalisierung"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Kultur der Digitalität"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Kunstdidaktik"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Kunst- und Bildwissenschaft"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Kunstpädagogik"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Künste"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Poor Image"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Poor Image Art Education"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"deu","@value":"Postdigitalität"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Art Didactics"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Art Education"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Art and Image Science"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Arts"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Culture of Digitality"}]},{"@type":"skos:Concept","skos:prefLabel":[{"@language":"eng","@value":"Digital 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(AB)"}],"skos:exactMatch":["thema:AB"],"skos:notation":["AB"],"skos:prefLabel":[{"@language":"deu","@value":"Kunst: allgemeine Themen"},{"@language":"eng","@value":"The arts: general topics"}]},{"@type":"skos:Concept","rdfs:label":[{"@language":"deu","@value":"Thema Klassifizierung -- Kunst (A) -- Kunst: allgemeine Themen (AB) -- Kunsttheorie (ABA)"},{"@language":"eng","@value":"Thema Subject Codes -- The Arts (A) -- The arts: general topics (AB) -- Theory of art (ABA)"}],"skos:exactMatch":["thema:ABA"],"skos:notation":["ABA"],"skos:prefLabel":[{"@language":"deu","@value":"Kunsttheorie"},{"@language":"eng","@value":"Theory of art"}]},{"@type":"skos:Concept","rdfs:label":[{"@language":"deu","@value":"Thema Klassifizierung -- Gesellschaft und Sozialwissenschaften (J) -- Gesellschaft und Kultur, allgemein (JB) -- Kultur- und Medienwissenschaften (JBC) -- Medienwissenschaften (JBCT)"},{"@language":"eng","@value":"Thema Subject Codes -- Society and Social Sciences (J) -- Society and 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