International Journal of Art & Design Education最新文献

This article explores how lens-based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists’ film and moving-image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving-image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out-of-time, temporal experiences. Deleuze's time-image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context.

This paper, a conversation between Simon Grennan, Carol Wild, Miranda Matthews and Claire Penketh, explores drawing as cause and consequence, applying Grennan's thinking to three drawings as a means of exploring and exemplifying ideas discussed in his keynote at the iJADE Conference: Time in 2023. Following an initial introduction to key ideas that were raised for that audience, the paper explores the ways that three particular drawings operate, with temporality offering one of a number of ways that they may be explored. The paper centres on three questions: (i) What might students learn are the different purposes of drawing? (ii) How might students adjudicate the status of drawn traces? (iii) How might students adjudicate the value of drawing activities?

In the studio, there are routines and rituals to be observed. One of those is making gesso. The quantities change each time and the ingredients vary, but the mechanical process remains the same: soak rabbit skin glue for 3 hours, double burner melt the glue, sieve in champagne chalk whiting, stir slowly, and tap the sides to remove air bubbles. Brush on first layer. Dry. Sand. Repeat × 10. Out of repetition each new territory is unique with its own lumps, drips and curves on a straight edge board. Making gesso is a kind of ritornello. Drawing on Deleuze and Guattari, a ritornello is a repetition leading to a transformation; it is a methodical kind of time that is rhythmic, local and spatiotemporal. It contravenes the idea of a universal, overarching time to consider heterogeneous, plural experiences of time in the art classroom. Ritornellos exist in both the studio and the art classroom, but in the art classroom, they often sediment into endless repetitions without rupture: tonal scales, colour wheels, drawing grids and pastiche. We apply the concept of ritornello to pedagogy in Secondary Art and Design education to think about school art orthodoxies and how they can be reterritorialised.

Using many years of experience in the UK's state primary schools, I consider that a limited understanding of time has damaging implications for both pupils and adults within the education system. The sector neglects the fact that time has much potential, many definitions and is a powerful influence on man. I share how education took clock-time and manipulated it to an extreme, leading to the rule clock-time now has over our schools. We are being held to account by time, and it has become our foe; however, I believe that it can become our friend. I explain why education should accept time's many facets and use them to help reshape its structure and practice. Time, in educational spaces, could be understood and experienced differently, taking in to account the human and all manner of other relevant things, for the greater good. This article began as a combined work of spoken word, poetry recital and research paper.

In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non-human. Through the implementation of a project titled ‘To Play,’ which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six-week period underpins the analysis, with a particular emphasis on understanding students' experiences with material-led processes. The findings highlight the potential of material-led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre-GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.

Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative mapping is required to fully understand the chronology of learning that takes place in and through the subject of art and design with human and nonhuman others. Drawing from a review of research in the field of Neuroaesthetics, I will seek to defend the unique temporality of art and design education and imagine different visualisations of learning in the subject beyond the computational.

Researchers define gamification as the phenomenon of creating “gameful experiences” and the use of “game mechanics” in non-gaming contexts (Deterding et al. 2011; Hamari et al. 2014). Gamification within education is the translation of design elements historically associated with gaming, e.g., embodiment, restructured timetables, probability, risk and reward, into the design of pedagogical approaches towards the goal of increasing student motivation, responsiveness and self-determination. The following article examines the gamification of critiques and peer-reviews as an evidence-based best practice and disruptive innovation before outlining examples of critique games. The critique games in this article disrupt instinctive response frameworks and timetables and provide alternatives to more conventional critique and peer-review practices.

As environmental awareness grows, so do questions about the environmental impact of photography, in particular traditional film development and processing, which includes the use of plastics, gelatine and other environmentally harmful chemicals notwithstanding water usage and waste. Pioneering practice and research into sustainable alternatives to conventional processes has quickly established, supported by organisations such as The Sustainable Darkroom. Students in Higher Education are environmentally aware and prepared to take action to mitigate their impacts where possible. As such, there is a coalescence of perceptions within and beyond the classroom which asks to be addressed in the curriculum. This paper draws upon the research project Under a Green Light: A Darkroom for the Future which investigated how university darkroom practices can pivot toward more environmentally friendly methods. The paper describes the learning environment of the darkroom as a space of slowness, immersion and experimentation and the pedagogic value of this for photography students. The paper argues that incorporating environmental awareness into day-to-day teaching through systemic changes to process and practice, rather than through short term curriculum interventions, contributes to transformative learning experiences and promotes positive long-term change.