Different individuals have different perception of artworks. This study aims to find the differences between architecture educators and other interpreters in perceiving architecture students’ pre-sketching. For this purpose, the images of architecture students’ pre-sketches were interpreted by three groups. The information perceived from the students’ pre-sketching was coded and categorized as description, analysis, cognition, emotion, artist and evaluation. The results indicate that the focus of architecture educators was on formal aspects, architects tended to notice students’ architectural abilities while interpretations of educators from other disciplines emphasized the perception of meaning and emotion. The results also show the special role of educators’ perception in education through art.
{"title":"The perception of students’ pre-sketching by architecture educators","authors":"L. Alipour","doi":"10.1386/eta_00075_1","DOIUrl":"https://doi.org/10.1386/eta_00075_1","url":null,"abstract":"Different individuals have different perception of artworks. This study aims to find the differences between architecture educators and other interpreters in perceiving architecture students’ pre-sketching. For this purpose, the images of architecture students’ pre-sketches\u0000 were interpreted by three groups. The information perceived from the students’ pre-sketching was coded and categorized as description, analysis, cognition, emotion, artist and evaluation. The results indicate that the focus of architecture educators was on formal aspects,\u0000 architects tended to notice students’ architectural abilities while interpretations of educators from other disciplines emphasized the perception of meaning and emotion. The results also show the special role of educators’ perception in education through art.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"15 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73694721","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 article explores digital material/ism by examining student teachers’ experiences, processes and products with fully immersive virtual reality (VR) as part of visual art education. The students created and painted a virtual world, given the name Gretan puutarha (‘Greta’s Garden’), using the Google application Tilt Brush. They also applied photogrammetry techniques to scan 3D objects from the real world in order to create 3D models for their VR world. Additionally, they imported 2D photographs and drawings along with applied animated effects to construct their VR world digitally, thereby remixing elements from real life and fantasy. The students were asked open-ended questions to find out how they created art virtually and the results were analysed using Burdea’s VR concepts of immersion, interaction and imagination. Digital material was created intersubjectively and intermedially while it was also remixed with real and imaginary. Various webs of meanings were created, both intertextual and rhizomatic in nature.
{"title":"Remixing real and imaginary in art education with fully immersive virtual reality","authors":"Martina Paatela-Nieminen","doi":"10.1386/eta_00077_1","DOIUrl":"https://doi.org/10.1386/eta_00077_1","url":null,"abstract":"This article explores digital material/ism by examining student teachers’ experiences, processes and products with fully immersive virtual reality (VR) as part of visual art education. The students created and painted a virtual world, given the name Gretan puutarha (‘Greta’s\u0000 Garden’), using the Google application Tilt Brush. They also applied photogrammetry techniques to scan 3D objects from the real world in order to create 3D models for their VR world. Additionally, they imported 2D photographs and drawings along with applied animated effects to construct\u0000 their VR world digitally, thereby remixing elements from real life and fantasy. The students were asked open-ended questions to find out how they created art virtually and the results were analysed using Burdea’s VR concepts of immersion, interaction and imagination. Digital material\u0000 was created intersubjectively and intermedially while it was also remixed with real and imaginary. Various webs of meanings were created, both intertextual and rhizomatic in nature.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"457 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79783333","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}
The purpose of this study is to investigate how constructivist approaches are conceptualized and implemented in ‘gallery tour and studio workshop’ educational programmes at art museums, and the relationship that exists between the gallery and studio learning for children. A qualitative multi-case study was employed, and three art museums were involved. Data collection methods included programme observations, participant interviews, photos and museum documents. The findings of the study offer examples of educators’ teaching approaches, which reflect constructivist tenets, as well as factors that might strengthen the connection across gallery and studio learning. An inviting learning environment, consideration of students’ prior knowledge and experience, use of themes and motivating questions and facilitation of reflections, as well as educators’ collaboration all promoted well-connected tour and workshop programmes. This study offers insights and strategies to interested museum professionals and educators who aim to provide children with meaningful and well-connected art-viewing and art-making programmes.
{"title":"Bridging art viewing and making: Constructivist museum tour and workshop programmes","authors":"Juyoung Yoo","doi":"10.1386/eta_00074_1","DOIUrl":"https://doi.org/10.1386/eta_00074_1","url":null,"abstract":"The purpose of this study is to investigate how constructivist approaches are conceptualized and implemented in ‘gallery tour and studio workshop’ educational programmes at art museums, and the relationship that exists between the gallery and studio learning for children.\u0000 A qualitative multi-case study was employed, and three art museums were involved. Data collection methods included programme observations, participant interviews, photos and museum documents. The findings of the study offer examples of educators’ teaching approaches, which reflect constructivist\u0000 tenets, as well as factors that might strengthen the connection across gallery and studio learning. An inviting learning environment, consideration of students’ prior knowledge and experience, use of themes and motivating questions and facilitation of reflections, as well as educators’\u0000 collaboration all promoted well-connected tour and workshop programmes. This study offers insights and strategies to interested museum professionals and educators who aim to provide children with meaningful and well-connected art-viewing and art-making programmes.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"43 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84526739","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 arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.
{"title":"Working manifesto/a for rovers","authors":"Jodi A. Patterson","doi":"10.1386/eta_00076_3","DOIUrl":"https://doi.org/10.1386/eta_00076_3","url":null,"abstract":"This arts-based exploration offers potentiality and theory to the wider arts-based research field by expanding and naming embodied experience as it relates to mechanical means of transport. The author dubs such a practice of physically moving the body between vast and varied spaces\u0000 to be a roving art practice. She offers modes of potential, a preliminary list of protocols to contextualize a rover’s manifesto/a and ways to use roving as an educational tool applicable to the field of art education.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"24 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86536244","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}
Prisme 7, Bright and Game Society (2020) Centre Pompidou, Paris, PEGA3 (Free) https://prisme7.io/ Occupy White Walls (OWW), StikPixels (2020) (Free) https://www.oww.io/
Prisme 7, Bright and Game Society(2020)巴黎蓬皮杜中心，PEGA3(免费)https://prisme7.io/Occupy White Walls (OWW)， StikPixels(2020)(免费)https://www.oww.io/
{"title":"Prisme 7, Bright and Game Society (2020) Occupy White Walls (OWW), StikPixels (2020)","authors":"Li-Yan Wang","doi":"10.1386/eta_00070_5","DOIUrl":"https://doi.org/10.1386/eta_00070_5","url":null,"abstract":"\u0000Prisme 7, Bright and Game Society (2020)\u0000Centre Pompidou, Paris, PEGA3 (Free) https://prisme7.io/\u0000\u0000Occupy White Walls (OWW), StikPixels (2020)\u0000(Free) https://www.oww.io/","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"100 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90557893","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}
{"title":"‘My thoughts for the call to unite’, Ken Robinson (2020)","authors":"Mary Stokrocki","doi":"10.1386/eta_00069_5","DOIUrl":"https://doi.org/10.1386/eta_00069_5","url":null,"abstract":"‘My thoughts for the call to unite’, Ken Robinson (2020)\u0000https://www.youtube.com/watch?v=QU4Q17t4muY (YouTube)","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"17 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74597436","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 many countries, the subject of art in primary education is entrusted to generalist teachers rather than art specialists. This article explores ways of promoting in-depth learning in art education courses while simultaneously gaining an understanding of how preservice generalists develop their professional identities. This study focuses on the journey of five senior B.Ed. in primary education students from Frederick University in Cyprus, who were invited to engage with reflective practices through visual journaling on art, education and on art integration with social issues. The findings suggest that reflective visual journals can be used to promote generalist preservice teachers’ autonomy and self-reliance in their art making and art responding as well as in the design of art units for their future pupils. The implications of the study open up possibilities for teacher education as it recognizes the role of visual journaling in enhancing different forms of knowledge, acknowledging feelings of both tension and pleasure, promoting perceptions of self-efficacy and supporting inquiry. Overall, such efforts allow preservice teachers to transition from student to teacher identity.
{"title":"Reflective visual journals as a means for promoting generalist preservice teachers’ professional identity in art education","authors":"Victoria Pavlou","doi":"10.1386/eta_00064_1","DOIUrl":"https://doi.org/10.1386/eta_00064_1","url":null,"abstract":"In many countries, the subject of art in primary education is entrusted to generalist teachers rather than art specialists. This article explores ways of promoting in-depth learning in art education courses while simultaneously gaining an understanding of how preservice generalists\u0000 develop their professional identities. This study focuses on the journey of five senior B.Ed. in primary education students from Frederick University in Cyprus, who were invited to engage with reflective practices through visual journaling on art, education and on art integration with social\u0000 issues. The findings suggest that reflective visual journals can be used to promote generalist preservice teachers’ autonomy and self-reliance in their art making and art responding as well as in the design of art units for their future pupils. The implications of the study open up possibilities\u0000 for teacher education as it recognizes the role of visual journaling in enhancing different forms of knowledge, acknowledging feelings of both tension and pleasure, promoting perceptions of self-efficacy and supporting inquiry. Overall, such efforts allow preservice teachers to transition\u0000 from student to teacher identity.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"9 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89547390","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}
Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.
{"title":"‘Immersed in Art’: Engaged learning in art and design history","authors":"L. Chandler, Alistair Ward, L. Ward","doi":"10.1386/eta_00063_1","DOIUrl":"https://doi.org/10.1386/eta_00063_1","url":null,"abstract":"Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"27 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88133238","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 article, we ‐ a history teacher and visual art educator ‐ present a unique, arts-integrated history project that engaged grade eleven history students in creating an installation of suitcase assemblages exploring the lives of young victims of the Holocaust. While we recognize that there exist numerous strategies for teaching about the Holocaust, we assert not only that arts integration is useful in enhancing student learning and engagement in history but also that the curricular approach is ideally suited for the teaching of difficult history such as the history of the Holocaust. In addition to examples of the student artworks produced, we provide evidence of the project’s success in increasing students’ understandings of the assigned historical content as well as its success in complicating two dominant Holocaust narratives. In sharing our own experiences of using an arts-integrated approach to teaching the history of the Holocaust, we hope to inspire both history teachers who are looking for alternative ways to tackle the complex challenge of teaching difficult history as well as art teachers who are looking to integrate sound historical inquiry into their issues-based art projects.
{"title":"The suitcase project: Historical inquiry, arts integration and the Holocaust","authors":"Agnieszka Chalas, M. Pitblado","doi":"10.1386/eta_00066_1","DOIUrl":"https://doi.org/10.1386/eta_00066_1","url":null,"abstract":"In this article, we ‐ a history teacher and visual art educator ‐ present a unique, arts-integrated history project that engaged grade eleven history students in creating an installation of suitcase assemblages exploring the lives of young victims of the Holocaust. While\u0000 we recognize that there exist numerous strategies for teaching about the Holocaust, we assert not only that arts integration is useful in enhancing student learning and engagement in history but also that the curricular approach is ideally suited for the teaching of difficult history such\u0000 as the history of the Holocaust. In addition to examples of the student artworks produced, we provide evidence of the project’s success in increasing students’ understandings of the assigned historical content as well as its success in complicating two dominant Holocaust narratives.\u0000 In sharing our own experiences of using an arts-integrated approach to teaching the history of the Holocaust, we hope to inspire both history teachers who are looking for alternative ways to tackle the complex challenge of teaching difficult history as well as art teachers who are looking\u0000 to integrate sound historical inquiry into their issues-based art projects.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"86 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83707293","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 article, we seek to explore what new materialist theory and post-intentional phenomenology bring to art education research. Materiality is contextualized politically and historically, and then applied to an emerging research methodology which attempts to centre the material world as a key participant in an art education dissertation research project. The research site, a creative reuse store, serves as both context and participant as the authors explore the powerful collective agency of materiality in processes of art making. Portions of findings from the project are presented here and a new theory of thin(g)king is discussed.
{"title":"‘Oohing and ahhing’: The power of thin(g)king in art education research","authors":"E. Hood, T. Lewis","doi":"10.1386/eta_00062_1","DOIUrl":"https://doi.org/10.1386/eta_00062_1","url":null,"abstract":"In this article, we seek to explore what new materialist theory and post-intentional phenomenology bring to art education research. Materiality is contextualized politically and historically, and then applied to an emerging research methodology which attempts to centre the material\u0000 world as a key participant in an art education dissertation research project. The research site, a creative reuse store, serves as both context and participant as the authors explore the powerful collective agency of materiality in processes of art making. Portions of findings from the project\u0000 are presented here and a new theory of thin(g)king is discussed.","PeriodicalId":43940,"journal":{"name":"International Journal of Education through Art","volume":"39 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89579769","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}
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