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Encounters among Environmental Education and Eco-Art in the Anthropocene 人类世环境教育与生态艺术的相遇
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-06-22 DOI: 10.1111/jade.12417
Irida Tsevreni

This study explores the potential of the interdisciplinary zone that is created when art meets environmental education in the Anthropocene. It shares the findings of an eco-art project that took place in the framework of an environmental education course, where the undergraduate students were encouraged to create eco-art pieces, to investigate environmental problems/issues through art and to communicate their findings with the class. The research reflects on students' artworks and reveals the environmental problems and issues that were important for them. Furthermore, it discusses four dimensions of students' ecological consciousness that emerged: a) criticism for the ecological crisis and overconsumption, b) human-nature relationship, c) empathy for nonhuman beings and d) vision of an ecological future. The paper highlights the need for an experiential and creative pedagogical path in the process of the empowerment of the ecological consciousness in the field of environmental education.

这项研究探索了在人类世艺术与环境教育相遇时所创造的跨学科区域的潜力。它分享了在环境教育课程框架内进行的生态艺术项目的发现,在这个项目中,本科生被鼓励创作生态艺术作品,通过艺术来调查环境问题/问题,并与全班交流他们的发现。该研究反映了学生的艺术作品,并揭示了对他们来说重要的环境问题和问题。此外,本文还讨论了学生生态意识的四个维度:a)对生态危机和过度消费的批评;b)人与自然的关系;c)对非人类的同情;d)对生态未来的展望。本文强调了在环境教育领域中,生态意识赋权的过程中需要一条体验性和创造性的教学路径。
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引用次数: 2
From Janusz Korczak’s Democratic Pedagogy to Sharon Lockhart’s Artistic Project: Pedagogical Inspiration in Contemporary Art 从雅努什·科尔扎克的民主教育学到莎伦·洛克哈特的艺术计划:当代艺术中的教育学启示
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-06-18 DOI: 10.1111/jade.12418
Barbara Kwiatkowska-Tybulewicz

The aim of this article is to present pedagogical inspirations in contemporary art. In pedagogical research and analyses, we more frequently pose questions about the artistic inspirations for educational theory and practice. In the face of the educational turn in contemporary art and culture, it is worth considering inspiration in the opposite direction. The article discusses the project Little Review by the American artist Sharon Lockhart, which was shown during the 57th Venice Biennale of Art (2017). This artistic project was inspired by the democratic and alternative pedagogy of a Polish pedagogue of Jewish origin, Janusz Korczak, who was active before World War II. The characteristic element of such projects, which sit on the border of art and education, is their reference to radical pedagogy and alternative teaching and learning. Today, artists using educational methods look not to official conventional education for inspiration but to non-formal and alternative models. The Little Review is a good example of this type of inspiration in artistic activity. The article briefly presents the democratic pedagogy of Korczak and indicates its influence on the artistic project realised by Sharon Lockhart. It demonstrates the significant opportunities offered by this type of artistic and educational interweaving for both art and education.

本文旨在探讨当代艺术的教学启示。在教学研究与分析中,我们更多地提出教育理论与实践的艺术启示问题。面对当代艺术和文化的教育转向,相反方向的灵感值得思考。本文讨论了在2017年第57届威尼斯艺术双年展上展出的美国艺术家莎伦·洛克哈特的作品《Little Review》。这个艺术项目的灵感来自于犹太血统的波兰教育家Janusz Korczak的民主和另类教学法,他在第二次世界大战之前很活跃。这些项目位于艺术和教育的边界,它们的特征元素是它们对激进教学法和另类教学的参考。今天,使用教育方法的艺术家不再从官方的传统教育中寻找灵感,而是从非正式的和另类的模式中寻找灵感。《小评论》是艺术活动中这种灵感的一个很好的例子。本文简要介绍了科尔扎克的民主教学法,并指出其对莎伦·洛克哈特艺术计划的影响。它展示了这种艺术和教育交织为艺术和教育提供的重要机会。
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引用次数: 1
Life Below Water: How Can Creative Practice Nurture Personal Agency and Global Citizenship in Primary Education? 水下生活:创造性实践如何在小学教育中培养个人能动性和全球公民意识?
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-06-03 DOI: 10.1111/jade.12408
Robert Pulley

‘Life Below Water’ aims to establish how creative practice can provide an effective way to nurture self-efficacy and self-regulation in primary education. A constructionist approach was developed to help children explore UN Global Goal 14, through drawing, prototyping and storytelling as collaborative activities. Working in duets and quartets, a group of eight Key Stage 2 children were set the task of ‘inventing’ sea creatures with magical healing powers. The children evaluated their progress through pre and post-workshop questionnaires, and through discussions with their peers, teachers and parents. Workshop outcomes illustrate how nurturing skills in making can help foster creative agency and metacognition. Co-operating as a design team encouraged symmetrical reciprocity, self-regulation and a ‘care-full’ approach to environmental protection. The study provides guiding knowledge for prospective developments, based upon tentative findings. The time required to assess the impact of ‘Life Below Water’ is extended to enable future research efforts, by teachers and practitioners, to inform context-specific interpretations through whole-class workshops and international exchanges.

“水下生活”旨在建立创造性实践如何在小学教育中提供培养自我效能感和自我调节的有效途径。通过绘画、制作原型和讲故事等合作活动,开发了一种建构主义方法,帮助儿童探索联合国全球目标14。八名“关键阶段二”的孩子以二重唱和四重奏的形式完成了“发明”具有神奇治疗能力的海洋生物的任务。孩子们通过课前和课后的问卷调查,以及与同龄人、老师和家长的讨论来评估自己的进步。研讨会的成果说明了如何培养制作技能可以帮助培养创意代理和元认知。作为一个设计团队的合作鼓励对称互惠、自我调节和“谨慎”的环境保护方法。该研究基于初步发现,为未来的开发提供了指导性知识。评估“水下生命”影响所需的时间被延长,以使教师和从业者未来的研究工作能够通过全班研讨会和国际交流,为具体情况的解释提供信息。
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引用次数: 0
From Hybrid Spaces to In-between Spaces: A Journey with Contemporary Art and Situated Knowledge 从混合空间到中间空间:当代艺术与情境知识之旅
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-06-02 DOI: 10.1111/jade.12411
Glòria Jové, Daniel Gutiérrez-Ujaque, Quim Bonastra, Meritxell Simón-Martín

Theoretical knowledge taught in the classroom forms the bulk of lectures in Initial Teacher Training today. Persuaded that knowledge constructed in the community ought to permeate Teacher Training, Zeichner has developed the notion of Hybrid Space – a space for reflection, training and educational improvement where the background of academic/professional knowledge merges to create new learning opportunities, and where the voices of all participants emerge inclusively. Drawing on but also nuancing Zeichner’s Hybrid Space, this paper examines how (1) incorporating working with (in, about, through) contemporary art into our teaching, and (2) putting this pedagogical approach into play by means of situated learning contexts that work with and in the community offers the opportunity to create an innovative teaching approach. This innovation takes the form of transdisciplinary and nomadic learning inputs that operate within an in-between space and result in unique and unrepeatable learning experiences for all the participants involved.

在课堂上讲授的理论知识构成了今天初级教师培训课程的大部分内容。蔡希纳认为,在社区中构建的知识应该渗透到教师培训中,他提出了混合空间的概念——一个反思、培训和教育改进的空间,在这里,学术/专业知识的背景融合在一起,创造新的学习机会,在这里,所有参与者的声音都能包容地出现。本文借鉴蔡希纳的“混合空间”,但也对其进行了细微的改进,探讨了如何(1)将与(在,关于,通过)当代艺术合作纳入我们的教学,以及(2)通过与社区合作并在社区中提供创造创新教学方法的机会的情境学习环境,将这种教学方法发挥作用。这种创新采用跨学科和游牧式学习输入的形式,在中间空间内运作,为所有参与者带来独特且不可重复的学习体验。
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引用次数: 0
Supervising Art and Design Students Who Integrate Mental Health Experiences with Autobiographical Research 指导将心理健康经验与自传体研究相结合的艺术与设计专业学生
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.1111/jade.12410
Welby Ings

This article discusses some implications of working supportively with art and design students who manage mental health conditions in a postgraduate environment in a New Zealand University. The paper begins with a discussion of contesting research that considers relationships between highly creative thinkers and certain mental health conditions. It then proposes that, irrespective of arguments around correlations, supervisors are able to make a significant contribution to supporting candidates who combine autobiographically sourced knowledge with artistic inquiries into the experience of living with a mental health condition. In considering this proposition, the paper employs two case studies that illustrate certain strategies that proved useful when seeking to maximise the chances of successful and productive thesis completions. Working in tandem with wider institutional and therapeutic support, these strategies functioned alongside each candidate's research journey. Eight of these approaches are discussed in relation to a pedagogically responsive, informed and creatively supportive environment in which the students were able to develop complex and insightful research projects.

本文讨论了在新西兰大学研究生环境中与管理心理健康状况的艺术和设计专业学生进行支持性工作的一些含义。这篇论文首先讨论了一项有争议的研究,该研究考虑了高度创造性的思想家与某些心理健康状况之间的关系。然后,它提出,无论围绕相关性的争论如何,主管都能够为支持那些将自传体知识与艺术探究结合起来的候选人做出重大贡献,以了解精神健康状况的生活经验。在考虑这一命题,本文采用了两个案例研究,说明某些策略证明是有用的,当寻求最大限度地提高成功和富有成效的论文完成的机会。这些策略与更广泛的机构和治疗支持协同工作,与每位候选人的研究之旅一起发挥作用。其中的八种方法与教学反应灵敏、信息灵通和创造性支持的环境有关,在这种环境中,学生能够开发复杂而有见地的研究项目。
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引用次数: 0
What Can Possibly Go Wrong? Three Examples of Recurrent Deficiencies in the Teaching of Architectural Design 哪里可能出错?建筑设计教学中反复出现缺陷的三个例子
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-05-29 DOI: 10.1111/jade.12409
Jan Silberberger

Based on an ethnographic study on studio teaching at five leading European architecture schools, the paper at hand identifies three repeatedly occurring deficiencies (as well as one related problem) in the teaching of architectural design. Drawing on empirical data, the paper describes how ‘epistemic positions’ are shifted without reflection, that serious efforts at translating tacit into propositional knowledge are (too) scarce, and how procedures are not rigorously linked to the respective objects of study. In addition to tackling these three deficiencies, the paper calls for developing corresponding ways of critique assessment that reflect the aspired improvements.

基于对欧洲五所主要建筑学校工作室教学的民族志研究,本文确定了建筑设计教学中三个反复出现的缺陷(以及一个相关问题)。根据经验数据,本文描述了“认知立场”是如何在没有反思的情况下转移的,将隐性知识转化为命题知识的认真努力(太)稀缺,以及程序如何没有严格地与各自的研究对象联系起来。除了解决这三个缺陷外,本文还呼吁开发相应的批评评估方法,以反映所期望的改进。
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引用次数: 0
Museum education for pre-service teachers in an online environment: Challenges and potentials 在线环境下职前教师的博物馆教育:挑战与潜力
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-05-11 DOI: 10.1111/jade.12404
Victoria Pavlou

It was widely expected that the academic year 2020-2021 would be a different experience for all involved in educational processes. Everybody had to readjust and reimagine their practice in order to respond to the new reality of teaching university courses online due to the COVID-19 pandemic. This article focuses on the challenges and opportunities that were created because of the pandemic for experiential and collaborative learning during a museum education course addressed to student teachers in the context of initial teacher training. It focuses on a series of activities and reflective practices that took place in order to promote student engagement and active learning in the online environment within which the course was materialized, such as object-based learning and museum visits. It discusses opportunities for an embodied living inquiry as a space for learning and researching. These experiences have implications for museum education through online training and contributes to the digital transformation of teacher training courses in Higher Educational Institutions.

人们普遍预计,2020-2021学年对所有参与教育过程的人来说都将是不同的经历。由于COVID-19大流行,每个人都必须重新调整和重新设想自己的做法,以应对在线教授大学课程的新现实。本文重点讨论了在初始教师培训的背景下,在面向学生教师的博物馆教育课程中,由于大流行为体验式和协作式学习创造的挑战和机遇。它侧重于一系列活动和反思实践,这些活动和实践是为了促进学生在课程具体化的在线环境中参与和主动学习,例如基于对象的学习和博物馆参观。它讨论了作为学习和研究空间的具体生活探究的机会。这些经验对通过在线培训的博物馆教育具有启示意义,并有助于高等教育机构教师培训课程的数字化转型。
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引用次数: 0
Creativity and the Trauma of COVID-19: How do Foundation Level Art and Design Students Navigate a Liminal Journey during a Pandemic? 创造力和COVID-19的创伤:基础水平的艺术和设计学生如何在大流行期间度过一段短暂的旅程?
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-05-08 DOI: 10.1111/jade.12405
Elaine Robertson, Judy Thomas, Mark Bailey

This article explores the impact of COVID-19 on the physical learning spaces of art and design students to consider how this has informed and influenced the creative process, emotional resilience and engagement with learning during this difficult year of restrictions. More specifically, it draws on the experiences of students in a Foundation Art and Design programme in a Further Education college in the North of England as a case study. As a transitional year between Further Education (FE) and Higher Education (HE), this programme is designed to be transformative in terms of theoretical knowledge, practical skills and shaping student identities through ‘becoming’ creative practitioners. Concepts of liminality and liminal spaces provide a lens through which to offer an account of the nature and scope of these transformative experiences over the past year. As an accidental ethnography (Levitan et al. 2017), aspects discussed suggest that whilst COVID-19 had a significant negative impact on the experiences and progression of this cohort of students, there have also been many positive outcomes suggesting that this particular programme has maintained its transformative ambitions.

本文探讨了COVID-19对艺术和设计专业学生物理学习空间的影响,以考虑在这一困难的限制年中,这是如何影响和影响创作过程、情感弹性和学习参与的。更具体地说,它借鉴了英格兰北部一所继续教育学院基础艺术与设计课程学生的经验作为案例研究。作为继续教育(FE)和高等教育(HE)之间的过渡年份,该课程旨在通过“成为”创造性实践者,在理论知识,实践技能和塑造学生身份方面进行变革。阈限和阈限空间的概念提供了一个镜头,通过它提供了对过去一年这些变革经验的性质和范围的描述。作为一个偶然的民族志(Levitan et al. 2017),所讨论的方面表明,尽管COVID-19对这群学生的经历和进步产生了重大的负面影响,但也有许多积极的结果表明,这一特定项目保持了其变革的雄心。
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引用次数: 0
Portfolio Literacy and the Transition to Work for Graphic Design Graduates 作品集素养和过渡到工作平面设计毕业生
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-05-07 DOI: 10.1111/jade.12407
Carolyn Barnes, Nicole Wragg, Emma Fisher, Shivani Tyagi, Alison de Kruiff

The graphic design industry has moved beyond its traditional focus on printed matter to deliver multidimensional communication projects involving diverse audiences and media channels. No longer a skills and service industry, graphic design increasingly informs business strategy and innovation processes, requiring heterogeneous expertise, a rigorous design process and the ability to work in multidisciplinary teams. This shift raises the question of the relevance of a traditional design portfolio in demonstrating employability, especially when employers prioritise generic over disciplinary and technical skills. Our article reports the results of a survey of 53 Australian employers of graphic design graduates on the role of the portfolio in evidencing design-specific and more general employability skills, capacities and attributes. The article provides a deeper understanding of the role of a portfolio in the transition to work. We argue that graphic design graduates need ‘portfolio literacy’—which combines insight in the curation of the portfolio and its use in interview performance—to demonstrate both core graphic design and creative skills and capacities in communication, collaboration and problem-solving. This significant know-how is best developed during graduates’ tertiary studies.

平面设计行业已经超越了传统的对印刷品的关注,提供了涉及不同受众和媒体渠道的多维沟通项目。平面设计不再是一个技能和服务行业,它越来越多地为商业战略和创新过程提供信息,需要不同的专业知识、严格的设计过程和在多学科团队中工作的能力。这种转变提出了传统设计作品集在展示就业能力方面的相关性问题,特别是当雇主优先考虑通用技能而不是学科和技术技能时。我们的文章报告了一项对53位澳大利亚平面设计毕业生雇主的调查结果,调查结果是关于作品集在证明特定设计和更一般的就业技能、能力和属性方面的作用。本文提供了对项目组合在工作转换中的角色的更深入的理解。我们认为,平面设计专业的毕业生需要“作品集素养”——将作品集管理的洞察力和在面试中的运用结合起来——来展示核心的平面设计和创造性技能,以及沟通、协作和解决问题的能力。这种重要的技能在毕业生的高等教育中得到了最好的发展。
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引用次数: 2
Fathers with their Children at an Art Exhibition: A Narrative Study 一个艺术展上的父亲和孩子:一个叙事研究
IF 1.1 4区 教育学 Q1 Arts and Humanities Pub Date : 2022-04-28 DOI: 10.1111/jade.12406
Dilek Acer, Tuğba Baş, Nergiz Teke

The aim of this study was to examine the early childhood experiences of children visiting an art exhibition with their fathers and creating their own artwork. It was designed and conducted as a narrative study, which is a qualitative research methodology. Five children in early childhood (48–88 months old) and their fathers participated in the research carried out in a Contemporary Arts Centre in Ankara, Turkey. Each father and child dyad visited the exhibition at different times and their dialogues during these visits were recorded. The data obtained in the study were analysed through content analysis. It was shown in the results that the fathers and children expressed their thoughts about features of the exhibited works such as size, line, transparency and texture as well as other aspects such as the part-whole relationship and the materials and techniques used in the artworks. It was also observed in the process of creating images, that the fathers and their children had experiences in planning and initiating the creation process, continuing the drawing/colouring process, associating their artwork with the exhibition, naming their artwork and creating a common symbol. In addition, it was found that the fathers created narratives stating that they learned more about the perspective of their children regarding art, got to better know their children’s interests due to the artistic experience and decided to have more frequent artistic experiences with their children in the future.

本研究的目的是探讨儿童与父亲一起参观艺术展览和创作自己的艺术作品的早期经历。本研究是以叙事性研究的方式设计和实施的,这是一种定性研究方法。五个幼儿(48-88个月大)和他们的父亲参加了在土耳其安卡拉当代艺术中心进行的研究。每个父亲和孩子在不同的时间参观了展览,并记录了他们在这些参观期间的对话。通过内容分析对研究中获得的数据进行分析。结果显示,父亲和孩子们对展出作品的尺寸、线条、透明度、质感等特征,以及作品的部分-整体关系、材料和工艺等方面表达了自己的想法。在创作图像的过程中还观察到,父亲和他们的孩子在规划和启动创作过程、继续绘画/着色过程、将他们的作品与展览联系起来、命名他们的作品和创造一个共同的符号方面都有经验。此外,研究还发现,父亲们创造的叙述表明,他们更多地了解了孩子对艺术的看法,通过艺术体验更好地了解了孩子的兴趣,并决定在未来与孩子进行更频繁的艺术体验。
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引用次数: 0
期刊
International Journal of Art & Design Education
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