International Journal of Art & Design Education最新文献

In this paper we explore the idea of an equity of imagination in the context of learning in the art museum. We mean by this a shared mental space in which artworks and publics are afforded mutual agency and power to generate meaning, with opportunities to conjure new meanings for shifting and changing contexts. We focus on how this can emerge through artistic interventions that seek to expand definitions of what museum learning is and could be. We investigate these ideas drawing on the work of Boris Charmatz, and The International Institute for Important Items (The I.I.I.I), as well as from a range of thinkers primarily from a French philosophical tradition. Through this we discuss how research guided by the imaginary may be used to more equitably connect visting publics with public collections, which are changing and evolving repositories of collective imagination.

This article describes preservice art education students who curated an exhibition for a university gallery, using description and analysis as aesthetic inquiry processes. The students curated an exhibition that placed 1977 Central and Latin American and contemporary children's artworks in dialogue with each other. They constructed themes that facilitated visual comparisons between contexts and narratives and generated questions to inspire imaginative thinking for viewers. The process was inspired by the Prospect School's descriptive review process, which emphasizes suspending judgment and resisting the urge to critique children's artworks, allowing for expanded inquiries (Carini, 2001). Curating is described as a form of aesthetic inquiry where students engage their imagination and develop critical thinking skills through collecting, analyzing, categorizing, constructing, and creating opportunities for viewers to experience children's artworks. The exhibition displays historical and contemporary children's artworks, likening to a dialogue, with the preservice art education students taking on the role of facilitators of the discussion. The questions they generated served as imaginative openings to perceive children as artists and producers of their own cultural images.

This paper addresses the importance of creativity, speculative imagination and the production of novelty in pedagogic practices in art education and art practice. These terms refer to always incomplete assemblages or agencements of experiencing. Whitehead's ideas on imagination, speculation and propositions are linked with Stengers's work on speculation and the cosmic adventure. The paper proceeds to consider the notion of imaginative interdependence as a key leitmotif, illustrated by Haraway's (2016, p. 14) discussion of the children's game ‘cats cradle.’ Imaginative interdependence is then aligned with the notion of ‘agencement’ to move away from viewing practice or imagination as processes initiated by a prior or transcendent subjectivity, what we might call the phenomenological subject. In contrast, practice and imagination are conceived as emerging within agencements, interdependent relations, considered as cosmic adventures often involving human and non-human participants. Such adventures are explored and problematised in the context of art education. Questions arise involving the contrast between the dispositifs of institutionalised art education and local agencements of art practice that may not conform. The notion of aesthesis is introduced to explore these contrasts as well as that pertaining to the contrast between established conventions of art education and the rupturing force of art's education that may open new modes of sensing and becoming. To conclude the paper builds upon the notion of agencements of imaginative interdependence in the context of art education by emphasising the importance of aesthesis and Deleuze and Guattari's call for a new earth and a people to come.

Educational makerspaces have now been established in many Norwegian schools. Makerspace initiators promote active learning by using new and traditional materials, tools and technologies in creative activities. Arts and crafts (A&C) education shares many ideas with makerspaces, inviting pupils to explorative interaction through material engagement that promotes multiple ways of knowing. In this study, we examined primary school pupils’ explorative interaction with materiality in Norwegian educational makerspaces from an A&C education perspective. We conducted semi-structured interviews with teachers in seven schools, asking about their practices. We also observed teachers and pupils engaging in makerspace activities in four of these schools. Our interviews revealed that science teachers have completed the crucial groundwork of initiating the building of makerspaces in Norwegian schools. We found that the teachers were highly motivated to use new materials, adding new dimensions of making for the pupils, but the materials and technologies could be utilised more constructively and exploratively and in more open-ended processes. Science and A&C teachers could benefit from closer collaboration, developing and implementing co-creative and explorative aspects of traditional and new materials, tools and technologies in makerspace activities. We argue that including A&C could bring new creative potential into makerspace activities, allowing pupils to craft with materials through artistic, sensorial and explorative dimensions of materiality more extensively than they currently do.

The rise in the number of young people disengaged from mainstream schooling is reaching critical proportions. This paper explores a child-framed participatory inquiry known as The Walking A/r/tography Project, which sought to challenge, empower and engage youth at risk in one Special Assistance Secondary School in Southeast Queensland through a/r/tographic mappings of place and subsequent critical and creative experiences in the classroom studio. The young people were invited to the project as researchers, who collected, generated and analysed data, resulting in agentic activist positionings. Extensive literature supports the benefits of an Arts-rich environment, which can enable impactful social justice learnings and a deep awareness of social and political activism, particularly when they are experienced through contemporary artworks and artmaking practices. Such experiences and knowings can tie learning in, through and with the Arts directly to educational activism, where student voice and agency are foregrounded for the purposes of empowerment and disruptive, transformational learning. The findings of this study assert that young people at risk can co-create and reimagine their educational experiences to engage in schooling more positively as Artivists.

This study aims to develop learning to learn and self-learning in the architectural design studio. The study considers that one of the ways in which the architectural design studio can be resistant to environmental conditions is to be aware of and manage the way the architecture student learns. The main theme of the methodological approach is learning how to learn, and its experients are first-year architecture students. The method consists of design research and a questionnaire. Design research is configured as a two-stage pedagogical approach: The first phase consists of an abstraction practice and results in a physical model. The second stage includes a single-function small-scale design task and imposes the use of design knowledge obtained from the physical model in the first stage as a mandatory condition. The study concluded in three basic positions: The first is that the first-grade architecture student establishes the relationality of comprehending–understanding–making sense of self-learning and learning mode. Second, the student has become a direct active learner, and finally, a way of making use of the built environment as an educational object has been discovered. Broadly, the study has enabled the students to become aware of self-learning. Improving such a learning culture in architectural education can provide a way to prepare for an uncertain future.

In response to increasing societal concerns for environmental issues, there is a growing demand for products that are both functional and eco-friendly. This study investigates how integrating nature-inspired furniture design into educational curricula prepares students for the evolving demands of the design industry. Conducted within an undergraduate furniture design studio, students were tasked with creating nature-inspired furniture, emphasising sustainability. The article examines how this approach enhances student creativity, fosters an appreciation for biophilia and encourages sustainable design practices, highlighting the pedagogical benefits of nature-inspired design. Research methodologies, including observations, focus groups and surveys, were designed to describe and categorise student learning experiences and the advantages of a nature-inspired design pedagogy. Findings indicate that using nature as design inspiration positively influences student creativity, encourages innovative concept exploration and fosters environmental empathy, thereby integrating biophilic and sustainable design principles into their work and enhancing their creative skills.

This paper investigates the perceptions and implications of quietness among students in the UK classroom, challenging the prevalent notion that vocal participation equates to engagement and success. Despite concerns from educators and parents about quiet students' engagement, this research explores how silence and quietness function as integral components of classroom dynamics. Through interviews with Year 11 students, the paper examines students' views on their quietness and its role in learning. The literature review reveals diverse conceptualisations of quietness, ranging from an absence of speech to positive social disengagement, attentive listening and creativity. Theoretical frameworks such as Figured Worlds and Flow Theory are employed to understand how students' identities and learning experiences are shaped by their quietness. The findings conclude that the negative perceptions of quiet students arise from a misunderstanding of quietness, advocating for a progressive view that recognises the benefits of 'quiet ways' in teaching and learning. Further research with educators is proposed to explore their perceptions of student quietness and its impact on educational practices. This study contributes to a nuanced understanding of classroom participation, challenging traditional expectations of vocal engagement.

Biomaking and other bio-oriented creative approaches are beginning to gain traction in education. Operating at the intersections of arts and sciences, they represent a field of integrative practices that involve creative making with the biological. In educational contexts, however, bio-oriented creative practices have been studied primarily from hylomorphic perspectives that do not account for the roles of different non-human organisms or other materials that participate in the processes. Drawing on theories of sociomateriality and material agency, and utilising multispecies microethnography, the paper attends to the specificities of making, makers, materials and artefacts in biomaking. It explores a case of a Finnish upper secondary school workshop implemented as part of the school's art curriculum within a larger educational development initiative. In the workshop, makers engaged with webcap mushrooms to extract, use and experiment with their pigments. The analysis builds on constructed operational sequences of the workshop activities, and a scrutiny of their interconnections, stages and participants. The paper shows how making, emergent artefacts and interplays of makers’ intentions and materialities can instate moments of relationality and learning, and thus build makers’ material awareness of the more-than-human organisms around them. The study proposes making with the biological as an attunement to our enmeshment with the environment.

This article argues for a reconceptualisation of early childhood education, where learning and development are not only valued by outcome, and aims to investigate how aesthetic processes are organised in ways for the children to be inspired, to compare, explore, and play. Inspired by a Vygotsky perspective and his theories of play, imagination, and creativity, the article argues for developmental perspectives where transformation is driven by different kinds of experiences that lead to sustained change and not a one-sided passing of instructions from teacher to child. Drawing on ethnographic material from a qualitative research project implemented in Danish daycares, where an artist visited over a 3-month period, shows specific patterns in how the children are engaging in aesthetic processes and multiple ways that joint activities inspire the children to play. The research reveals new insights into the relationship between aesthetic processes and play, as it facilitates the exploration of not only the many layers of aesthetics but also how participation in joint activities enables the aesthetic process to become a cultural frame of reference that is used in Play.