In the last decade, there has been a resurgence of women artists engaging with performative arts in Pakistan. This paper dissects the multilayered agencies of performative modes of being, deep emotional and spiritual shifts in perception, and the impact of performance art on the consciousness. The dominant explanation of psychological and physical shifts as the body enters into a state of performance. By examining various projects initiated by a Lahore based performance art platform, House Limited, I clarify the processes by which performance works directly inform the gender desegregation in public spaces in Pakistan. Furthermore, the imminent internal and external threats that the women artists overcame as they created these performance-based works. Contrary often assumed, by actively negating the conventional art market, these artists not only liberated to cement an alternative art community, reputations, and networks, but also actually liberated themselves.
{"title":"I am, A Spectacle: Reclaiming Female Consciousness through Performance Art in Pakistan","authors":"Natasha Jozi","doi":"10.54916/rae.119308","DOIUrl":"https://doi.org/10.54916/rae.119308","url":null,"abstract":"In the last decade, there has been a resurgence of women artists engaging with performative arts in Pakistan. This paper dissects the multilayered agencies of performative modes of being, deep emotional and spiritual shifts in perception, and the impact of performance art on the consciousness. The dominant explanation of psychological and physical shifts as the body enters into a state of performance. By examining various projects initiated by a Lahore based performance art platform, House Limited, I clarify the processes by which performance works directly inform the gender desegregation in public spaces in Pakistan. Furthermore, the imminent internal and external threats that the women artists overcame as they created these performance-based works. Contrary often assumed, by actively negating the conventional art market, these artists not only liberated to cement an alternative art community, reputations, and networks, but also actually liberated themselves.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"1 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132899562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mira Kallio-Tavin, H. Fast, Kirsi Heimonen, Tiina Pusa, R. Hari
Professor Mira Kallio-Tavin (Doctor or Arts), is the Head of Research in the Department of Art in Aalto University, Finland. She focuses her research on critical artistic and arts-based practices and research in questions of di-versity, disability studies, social justice and critical animal studies. She is a World Councilor of InSEA (International Society for Education Through Art), the founder of the International Disability Studies, Arts and Education (DSAE) conference, and the founder of Nordic Visual Studies and Art Education (NoVA) master’s program. She is the author and editor of six books, and editor of journals Research in Arts and Education (principle editor) and The International Journal of Education through Art (editor). Heidi Fast is an and in live art and performance studies. Fast is currently finalizing her artistic doctoral research on the transformational potential of non-verbal affective communication, in Aalto University. Fast works in a multidisciplinary research project, called “Experi-ential Demarcation: Multidisciplinary Inquiries into the Affective Foundations of Interaction” Taipale, Jyväskylä). Her doctoral research is actualized in co-operation Helsinki Central Hospital The themes of Fast ´ s artistic research are imminently connected with art working, that involves wide projects and series of artworks, such as Hospital (2015–2019), which was actualized to the hospital space, concert hall and Abstract Artistic research focuses on experiences that are difficult to grasp conceptu-ally. This article aims at a common transdisciplinary ground for understanding how people are ‘touched and moved’ by arts. Basic neuroscientific princi-ples—predictive processing, interoception, and bodily feelings—appeared useful in discussing artistic research: (1) How pre-existing knowledge affected people’s percepts of each other while they participated in nonverbal vocal art with psychiatric patients, (2) how an author–painter had strong embodied experiences while viewing visual art, and (3) how a well-practised embodied skill, walking, was transformed into an extremely slow-speed performance, in-tensifying the sensations from the environment and limiting mind-wandering. These artistic experiences demonstrate the usefulness of verbalising rich artis-120 tic experiences and reveal the tight connection between mental content and motor activity.
Mira Kallio-Tavin教授(艺术博士)，芬兰阿尔托大学艺术系研究主任。她的研究重点是批判性艺术和基于艺术的实践，以及多样性、残疾研究、社会正义和批判性动物研究问题的研究。她是InSEA(国际艺术教育协会)的世界顾问，国际残疾研究、艺术与教育(DSAE)会议的创始人，北欧视觉研究与艺术教育(NoVA)硕士课程的创始人。她是六本书的作者和编辑，也是《艺术与教育研究》杂志(主编)和《艺术教育国际杂志》(编辑)的编辑。海蒂·法斯特是现场艺术和表演研究的专家。Fast目前正在阿尔托大学完成她关于非语言情感交流的转化潜力的艺术博士研究。Fast从事一个多学科研究项目，名为“经验划分:互动情感基础的多学科调查”(Taipale, Jyväskylä)。Fast的艺术研究主题与艺术工作密切相关，涉及广泛的项目和一系列艺术作品，如医院(2015-2019)，它被实现到医院空间，音乐厅和抽象艺术研究，侧重于难以在概念上把握的体验。本文旨在从一个共同的跨学科的角度来理解人们是如何被艺术“感动和感动”的。基本的神经科学原理——预测处理、内感受和身体感觉——在讨论艺术研究时似乎很有用;(1)预先存在的知识如何影响人们在与精神病患者一起参与非语言艺术时对彼此的感知;(2)作家兼画家在观看视觉艺术时如何产生强烈的具身体验;(3)熟练的具身技能(走路)如何转化为极慢速度的表演，强化来自环境的感觉，限制走神。这些艺术体验证明了用语言表达丰富的艺术体验的有用性，并揭示了心理内容与运动活动之间的紧密联系。
{"title":"Touched And Moved By Arts Introduction to a Transdisciplinary Discourse on Human Experience","authors":"Mira Kallio-Tavin, H. Fast, Kirsi Heimonen, Tiina Pusa, R. Hari","doi":"10.54916/rae.119313","DOIUrl":"https://doi.org/10.54916/rae.119313","url":null,"abstract":"Professor Mira Kallio-Tavin (Doctor or Arts), is the Head of Research in the Department of Art in Aalto University, Finland. She focuses her research on critical artistic and arts-based practices and research in questions of di-versity, disability studies, social justice and critical animal studies. She is a World Councilor of InSEA (International Society for Education Through Art), the founder of the International Disability Studies, Arts and Education (DSAE) conference, and the founder of Nordic Visual Studies and Art Education (NoVA) master’s program. She is the author and editor of six books, and editor of journals Research in Arts and Education (principle editor) and The International Journal of Education through Art (editor). Heidi Fast is an and in live art and performance studies. Fast is currently finalizing her artistic doctoral research on the transformational potential of non-verbal affective communication, in Aalto University. Fast works in a multidisciplinary research project, called “Experi-ential Demarcation: Multidisciplinary Inquiries into the Affective Foundations of Interaction” Taipale, Jyväskylä). Her doctoral research is actualized in co-operation Helsinki Central Hospital The themes of Fast ´ s artistic research are imminently connected with art working, that involves wide projects and series of artworks, such as Hospital (2015–2019), which was actualized to the hospital space, concert hall and Abstract Artistic research focuses on experiences that are difficult to grasp conceptu-ally. This article aims at a common transdisciplinary ground for understanding how people are ‘touched and moved’ by arts. Basic neuroscientific princi-ples—predictive processing, interoception, and bodily feelings—appeared useful in discussing artistic research: (1) How pre-existing knowledge affected people’s percepts of each other while they participated in nonverbal vocal art with psychiatric patients, (2) how an author–painter had strong embodied experiences while viewing visual art, and (3) how a well-practised embodied skill, walking, was transformed into an extremely slow-speed performance, in-tensifying the sensations from the environment and limiting mind-wandering. These artistic experiences demonstrate the usefulness of verbalising rich artis-120 tic experiences and reveal the tight connection between mental content and motor activity.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127864129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue of the Research in Arts and Education, titled The Creative Process: Critical Perspec tives on Art, Research, and Education from Pakistan and Beyond, examines and inves-tigates radical feminist and queer approaches to contemporary art, art education, and artistic research methodologies and practices. With a focus on practices from Pakistan, this collection of essays and papers address a range of subjects that compel us to engage with art making, art history, art and activist organization, and research strategies from decolonial and people of colour positionalities. body female the male
{"title":"The Creative Process: Critical Perspectives on Art, Research, and Education from Pakistan and Beyond","authors":"Abdullah Qureshi, Natasha Malik","doi":"10.54916/rae.119306","DOIUrl":"https://doi.org/10.54916/rae.119306","url":null,"abstract":"This issue of the Research in Arts and Education, titled The Creative Process: Critical Perspec tives on Art, Research, and Education from Pakistan and Beyond, examines and inves-tigates radical feminist and queer approaches to contemporary art, art education, and artistic research methodologies and practices. With a focus on practices from Pakistan, this collection of essays and papers address a range of subjects that compel us to engage with art making, art history, art and activist organization, and research strategies from decolonial and people of colour positionalities. body female the male","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115447295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper investigates processes that include weaving, macramé, and needlework. The very nature of these practices requires devoted physical presence, firmly fixed for long hours to build rhythm. Labourious and tedious, these crafts bring one to the present by means of minute and constrained gestures. Enduring the process at hand, the psyche is anxious and persistently appre-hensive. Despite this, the work is undertaken with pleasure, entangling the practitioner such that she is unable to depart the site of labour. Touch and the repetitive working and reworking of materials allow for pleasure, enjoyment and being focused on the present moment. These lived experiences are what feminist scholar Anne Cvetkovich accredits to “the value of process and the art of daily living” through an “embodied practice.” Drawing from feminist interpretations of Lacanian jouissance, this paper locates presence and attentiveness via slowness as a primary site of female creativity that differs. Both as a gesture of delaying and as being other, a play Derrida refers to as ‘Dif-férance’ it is particularly generative for new ways of knowing. As a means of refinement that “work upon or shape” the practices of needlework, macramé and weaving can be understood as means of knowledge and ways of being in the world.
{"title":"Playing Slow","authors":"Madiha Sikander, Candice Okada","doi":"10.54916/rae.119309","DOIUrl":"https://doi.org/10.54916/rae.119309","url":null,"abstract":"This paper investigates processes that include weaving, macramé, and needlework. The very nature of these practices requires devoted physical presence, firmly fixed for long hours to build rhythm. Labourious and tedious, these crafts bring one to the present by means of minute and constrained gestures. Enduring the process at hand, the psyche is anxious and persistently appre-hensive. Despite this, the work is undertaken with pleasure, entangling the practitioner such that she is unable to depart the site of labour. Touch and the repetitive working and reworking of materials allow for pleasure, enjoyment and being focused on the present moment. These lived experiences are what feminist scholar Anne Cvetkovich accredits to “the value of process and the art of daily living” through an “embodied practice.” Drawing from feminist interpretations of Lacanian jouissance, this paper locates presence and attentiveness via slowness as a primary site of female creativity that differs. Both as a gesture of delaying and as being other, a play Derrida refers to as ‘Dif-férance’ it is particularly generative for new ways of knowing. As a means of refinement that “work upon or shape” the practices of needlework, macramé and weaving can be understood as means of knowledge and ways of being in the world.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121731000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay studies the creation of identities, through means such as art and literature, of colonizers and especially the colonized, in context of the ‘Occident’ and the ‘Orient’. ‘Orientalism’, a Western systematic, organized creation and dissemination of knowledge, ideas and discussion about the Orient, informed, governed, and authorized the various modes of representation of the Orient as the ‘Other’. Orientalism was driven by a Western sense of cultural superiority and corporate, political and military interests in the East with the aim to con-trol, restructure and dominate it. Hence, the creation of a certain image of the Orient to justify the European presence as the white man’s burden to civilize and tame the uncivilized, the inferior. The focus of this paper is specifically on 19 th century Orientalist art, wherein the Orient was perceived and represented not only as backward, mysterious, and exotic but also as feminine, sexual, erotic, and sinister. The emphasis will particularly be on the famous odalisque and harem paintings that betrayed underlying Western ideological assumptions of power in relation to ‘woman’ as the ‘Other’, the object, the weaker in the heterosexual equation. and, white man’s racial, cultural and moral sense of superiority and power over inferior, darker races of the Orient. Thus, I will be analysing contextual history, representation of the female body in Western art and European social attitude towards women, to understand why the Orient was feminized/sexualized in art and how Orientalist art served as an aesthetic branch of political documentation, and, means of social propaganda and cultural imperialism.
{"title":"Feminizing and Sexualizing the Orient as the Mysterious Other in Nineteenth Century Orientalist Art","authors":"Farazeh Syed","doi":"10.54916/rae.119307","DOIUrl":"https://doi.org/10.54916/rae.119307","url":null,"abstract":"This essay studies the creation of identities, through means such as art and literature, of colonizers and especially the colonized, in context of the ‘Occident’ and the ‘Orient’. ‘Orientalism’, a Western systematic, organized creation and dissemination of knowledge, ideas and discussion about the Orient, informed, governed, and authorized the various modes of representation of the Orient as the ‘Other’. Orientalism was driven by a Western sense of cultural superiority and corporate, political and military interests in the East with the aim to con-trol, restructure and dominate it. Hence, the creation of a certain image of the Orient to justify the European presence as the white man’s burden to civilize and tame the uncivilized, the inferior. The focus of this paper is specifically on 19 th century Orientalist art, wherein the Orient was perceived and represented not only as backward, mysterious, and exotic but also as feminine, sexual, erotic, and sinister. The emphasis will particularly be on the famous odalisque and harem paintings that betrayed underlying Western ideological assumptions of power in relation to ‘woman’ as the ‘Other’, the object, the weaker in the heterosexual equation. and, white man’s racial, cultural and moral sense of superiority and power over inferior, darker races of the Orient. Thus, I will be analysing contextual history, representation of the female body in Western art and European social attitude towards women, to understand why the Orient was feminized/sexualized in art and how Orientalist art served as an aesthetic branch of political documentation, and, means of social propaganda and cultural imperialism.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128653496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
suomalaisten taidekasvattajien valveutuneisuus aktiivisuus kentillä minulle, itsekin alan toimijalle, ylpeydenaihe.
{"title":"Reorienting Environmental Art Education","authors":"Henrika Ylirisku","doi":"10.54916/rae.119314","DOIUrl":"https://doi.org/10.54916/rae.119314","url":null,"abstract":"suomalaisten taidekasvattajien valveutuneisuus aktiivisuus kentillä minulle, itsekin alan toimijalle, ylpeydenaihe.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116970827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Artivists” often proclaim that their work is Marxist. The accent is not always on economic inequality, as they deal even more with feminist (/queer), post-colonialist and environmentalist goals, but Marxism is the classical political tag that haunts their projects. Marxism is a concept that is applied to a broad variety of approaches. In philosophy some of the most notorious critics of Marx are called Marxists. As political artists often desire to change moderately the society piece by piece with the help of their art, one could still ask the question: Does this not sound more like social democracy? The “revi-sionists,” i.e. the social democrats—Kautsky and Bernstein as the theoretical pioneers of the movement—thought that a new society could be built by negotiating and ameliorating piece by piece the existing society. If art universities should support artistic development, should social democracy be added to the curriculum?
{"title":"Is Most Marxist Art (And “Artivism”) Actually Social Democratic? And if so, what should art (and design) universities do about it?","authors":"M. Ryynänen","doi":"10.54916/rae.119311","DOIUrl":"https://doi.org/10.54916/rae.119311","url":null,"abstract":"“Artivists” often proclaim that their work is Marxist. The accent is not always on economic inequality, as they deal even more with feminist (/queer), post-colonialist and environmentalist goals, but Marxism is the classical political tag that haunts their projects. Marxism is a concept that is applied to a broad variety of approaches. In philosophy some of the most notorious critics of Marx are called Marxists. As political artists often desire to change moderately the society piece by piece with the help of their art, one could still ask the question: Does this not sound more like social democracy? The “revi-sionists,” i.e. the social democrats—Kautsky and Bernstein as the theoretical pioneers of the movement—thought that a new society could be built by negotiating and ameliorating piece by piece the existing society. If art universities should support artistic development, should social democracy be added to the curriculum?","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121464380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, we examine the tactile experience from two different perspectives: through ceramic practice and as ceramic sensory tools in the context of psychotherapy. In order to gain insights into the tactile experiences, we use subjective experience of making and the professional experience of using the ceramic objects to frame the experiences. We focus on the shared qualities of tactile experiences within these approaches and propose the idea of muteness as a lens to view pre-verbal or non-verbal embodied dimensions within the context of our practices. The dialogue in this paper is between two different practitioners: an artist-researcher and a psychotherapist. We discuss the possibilities of a mute process in ceramic practice for embodied awareness and the use of this particular quality for engaging bodily in self-reflection within psychotherapy. The psychotherapeutic frameworks in this discussion are limited to cognitive behavioural psychotherapy, particularly schema therapy and acceptance and commitment therapy (ACT), solution focused therapy and narrative therapy. Our findings suggest that the perceived muteness of the sensory tools enables discussion and explorative dialogue concerning the embodied dimension in tactile experiences providing access to a place of pre-verbal being and knowing.
{"title":"Ceramic pebbles as sensory tools: exploring the quality of muteness in tactile experience","authors":"Priska Falin, P. Oksanen","doi":"10.24342/G5FA-T581","DOIUrl":"https://doi.org/10.24342/G5FA-T581","url":null,"abstract":"In this paper, we examine the tactile experience from two different perspectives: through ceramic practice and as ceramic sensory tools in the context of psychotherapy. In order to gain insights into the tactile experiences, we use subjective experience of making and the professional experience of using the ceramic objects to frame the experiences. We focus on the shared qualities of tactile experiences within these approaches and propose the idea of muteness as a lens to view pre-verbal or non-verbal embodied dimensions within the context of our practices. The dialogue in this paper is between two different practitioners: an artist-researcher and a psychotherapist. We discuss the possibilities of a mute process in ceramic practice for embodied awareness and the use of this particular quality for engaging bodily in self-reflection within psychotherapy. The psychotherapeutic frameworks in this discussion are limited to cognitive behavioural psychotherapy, particularly schema therapy and acceptance and commitment therapy (ACT), solution focused therapy and narrative therapy. Our findings suggest that the perceived muteness of the sensory tools enables discussion and explorative dialogue concerning the embodied dimension in tactile experiences providing access to a place of pre-verbal being and knowing.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124173755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eva Liisa Kubinyi is a designer focusing on children’s roles within society, alternative educational systems, and the importance of free play. Her works include installations, workshops, services, products, and patterns. She holds a Master’s in Child Culture Design from HDK-Valand (SE). She is currently based in Tallinn where she works as a designer in a youth creativity lab called VIVISTOP Telliskivi. She also teaches elective courses on social design and design for play at the Estonian Academy of Arts. Vera Naydenova has a background in psychology and previous teaching experience at the primary level. She obtained a master’s degree in Social Design— Arts as Urban Innovation from the University of Applied Arts Vienna in 2016. She is currently employed at VIVISTOP Telliskivi and is responsible for creating content for workshops and guiding children’s activities. Kristi Kuusk is an Associate Professor and senior researcher in the Design Research Group at the Estonian Academy of Arts. She is also Head of the Textile Design department and co-head of the Art & Design doctoral school. Her interest is in finding alternative futures for clothing and textile design via the implementation of technology. She combines practice of collaborating as a selected laureate in EU projects such as STARTS Residencies, WORTH Partnership Project with presenting and publishing research in international venues. Abstract This paper reports on a university course focused on child-centred design and conducted in spring 2020 in a local creative lab for children in Estonia. In the project described in this paper, through playfulness, children and design students experienced a shared reality, overcame power differences, and built trusting, respectful relationships. Children’s participation was based on their own free choice and triggered experiences of wonder. Co-creation was further aided by transparent objectives, shared decisions, and collective reflection on outcomes. The co-imaged concepts developed in the course evidenced the value of involving children as design partners at the fuzzy front end of an open-ended design process.
Eva Liisa Kubinyi是一位专注于儿童在社会中的角色、另类教育系统和自由玩耍的重要性的设计师。她的作品包括装置、工作坊、服务、产品和图案。她拥有HDK-Valand (SE)的儿童文化设计硕士学位。她目前居住在塔林，在一个名为VIVISTOP Telliskivi的青年创意实验室担任设计师。她还在爱沙尼亚艺术学院教授社会设计和游戏设计的选修课程。维拉·内德诺娃有心理学背景和以前的小学教学经验。她于2016年获得维也纳应用艺术大学社会设计-城市创新艺术硕士学位。她目前受雇于VIVISTOP Telliskivi，负责为研讨会创建内容并指导儿童活动。Kristi Kuusk是爱沙尼亚艺术学院设计研究小组的副教授和高级研究员。她还是纺织设计系主任和艺术与设计博士学院的联席主任。她的兴趣是通过技术的应用为服装和纺织品设计寻找另一种未来。她将在欧盟项目(如STARTS驻留项目、WORTH合作项目)中获得获奖者的合作实践与在国际场所发表和发表研究成果相结合。本文报道了一门以儿童为中心的设计大学课程，该课程于2020年春季在爱沙尼亚当地的儿童创意实验室进行。在本文描述的项目中，通过玩耍，孩子们和设计专业的学生体验了共同的现实，克服了权力差异，建立了信任和尊重的关系。孩子们的参与是基于他们自己的自由选择，并引发了惊奇的体验。透明的目标、共同的决策和对结果的集体反思进一步促进了共同创造。课程中发展的共同意象概念证明了在开放式设计过程的模糊前端让儿童作为设计伙伴的价值。
{"title":"Children and design students practicing playful co-creation in a youth creativity lab","authors":"Eva Liisa Kubinyi, Vera Naydenova, K. Kuusk","doi":"10.54916/rae.119320","DOIUrl":"https://doi.org/10.54916/rae.119320","url":null,"abstract":"Eva Liisa Kubinyi is a designer focusing on children’s roles within society, alternative educational systems, and the importance of free play. Her works include installations, workshops, services, products, and patterns. She holds a Master’s in Child Culture Design from HDK-Valand (SE). She is currently based in Tallinn where she works as a designer in a youth creativity lab called VIVISTOP Telliskivi. She also teaches elective courses on social design and design for play at the Estonian Academy of Arts. Vera Naydenova has a background in psychology and previous teaching experience at the primary level. She obtained a master’s degree in Social Design— Arts as Urban Innovation from the University of Applied Arts Vienna in 2016. She is currently employed at VIVISTOP Telliskivi and is responsible for creating content for workshops and guiding children’s activities. Kristi Kuusk is an Associate Professor and senior researcher in the Design Research Group at the Estonian Academy of Arts. She is also Head of the Textile Design department and co-head of the Art & Design doctoral school. Her interest is in finding alternative futures for clothing and textile design via the implementation of technology. She combines practice of collaborating as a selected laureate in EU projects such as STARTS Residencies, WORTH Partnership Project with presenting and publishing research in international venues. Abstract This paper reports on a university course focused on child-centred design and conducted in spring 2020 in a local creative lab for children in Estonia. In the project described in this paper, through playfulness, children and design students experienced a shared reality, overcame power differences, and built trusting, respectful relationships. Children’s participation was based on their own free choice and triggered experiences of wonder. Co-creation was further aided by transparent objectives, shared decisions, and collective reflection on outcomes. The co-imaged concepts developed in the course evidenced the value of involving children as design partners at the fuzzy front end of an open-ended design process.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130121407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anniina Suominen, Tiina Pusa, Minna Suoniemi, Eljas Suvanto, Elina Julin
This article is part of a larger artistic and arts-based research project carried out by a group of artists, educators and academics with the intent to explore the notions of class that have influenced our stories of growing into academic lives and finding our ways in the competitive art worlds. Our broader aim is to bring forward problematic and challenging aspects of research, education, arts and society and through our explorations that engage others, jointly generate collective, alternative solutions to current academic and education practices. We do not have the space within this text to explore all the themes that currently inform our ongoing collaborative and collective research processes. Instead, we elaborate on chosen themes of materiality, embodied and emotional responses to experiences of class , and exclusion .
{"title":"Infernal learning and the class clash","authors":"Anniina Suominen, Tiina Pusa, Minna Suoniemi, Eljas Suvanto, Elina Julin","doi":"10.54916/rae.119321","DOIUrl":"https://doi.org/10.54916/rae.119321","url":null,"abstract":"This article is part of a larger artistic and arts-based research project carried out by a group of artists, educators and academics with the intent to explore the notions of class that have influenced our stories of growing into academic lives and finding our ways in the competitive art worlds. Our broader aim is to bring forward problematic and challenging aspects of research, education, arts and society and through our explorations that engage others, jointly generate collective, alternative solutions to current academic and education practices. We do not have the space within this text to explore all the themes that currently inform our ongoing collaborative and collective research processes. Instead, we elaborate on chosen themes of materiality, embodied and emotional responses to experiences of class , and exclusion .","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114928297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：