Teaching and Learning through Art

2009

Study 4.2 Cultural Context of the Study 4.3 Widened Teamwork and a Transformed Approach to Education 4.4 ReConsideration of the Arts Based Learning Practice 4.5 Transformative and Theme Based Learning 4.6 Textbooks and Teacher Tutorials-A Process of Naming and Production 4.7 Reflections on Narrated Back-Formation 4.8 Relating Imagination and Rhizomes 5. THE MULTIMODAL MONTAGE 5.1 Mediating Arts Based Learning Practice 5.2 The Art Informed Researcher 5.3 Montage and Artology 5.4 The Farmer Paul Montage 5.5 Interpretation of the Montage 5.6 Exploring Students´ Experiences of Aesthetic Response 6. CONCLUSION: AN AESTHETIC APPROACH TO EDUCATION 6.1 Third Spaces 6.2 Aesthetic Distance and Aesthetic Approach 6.3 Lived Inquiry 6.4 Poetic Documentation and Hermeneutic Pixels 6.5 The Rhizomatic Formation 6.6 Concluding Comments 7. SUMMARy IN SWEDISH AND FINNISH Fantasins bilder. Om ett estetiskt förhållningssätt till bildning Kuvia mielikuvituksesta. Esteettinen lähestymistapa kasvatukseen 8. REFERENCES 9. APPENDIx Tables, Figures and Images The Farmer Paul Poem in Swedish About the Title Images are human worked matter. They are reconstructed pieces: photographs, figures, maps or graphs rendered manually by drawing, painting, and carving, or automatically by printing or computer graphics. Additionally, images are captured by optical devices: cameras, mirrors, lenses, or by natural objects and phenomena, such as water surfaces. Images also exist in the individual's mind resulting from a process of imagination.

International Journal of Art & Design Education, 2007

This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student-centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text-based form such as writing. The resulting images were discussed in a seminar and a subgroup of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art-based approach to educational research. As a result, I advocate in this article a greater use of arts-based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning.

2023

This contribution wants to underline that pedagogy feeds on art not only to know how to do, but to learn how taking care of the person, providing not only an awareness of unity between image and concept, between sensation and thought, but also a knowledge which binds it to the universe in harmony with nature (Read, 1980). In particular, the analysis wants to focus on the importance of creative action through art, to develop a divergent thought that is an integral part of the educational process. Educating creativity means teaching to express oneself, to communicate, to respect diversity, to encourage thought to go beyond habits, to seek new solutions, to formulate new questions, to overturn consolidated processes, to look at the world from multiple points of view.

Human, Technologies and Quality of Education, 2019, 2019

This article is part of a more comprehensive study of the use of artistic (visual) means of expression in nowadays' visual communication. The author has sought an answer to the question if the strategies developed in the course of centuries for how to embody spatial constructions in a two-dimensional reflection are present not only in professional artists' but also in highschool students' creative work. Every student can analyse the performance of an artist as an information bearer and a skilful arranger of the means of artistic expression, and consequently every student can discover new for themselves means of visual expression, their arrangement principles in an artwork, and they can also recognize cultural contexts such as signs, symbols, archetypes, narratives etc. In order to gain a deeper understanding of the situation, the author has analysed the legislative basis regulating the cultural education in Latvia. The study focuses on the quantitative analysis of the means of artistic and visual expression the students have observed and listed as present in certain works of art. The ability to use the acquired knowledge in their own creative assignments has also been analysed. The focus group of the study are students at the General Secondary Education Distance Learning Program of the Riga Distance Education Secondary School. The obtained data provide a quantitative overview also on the mentions of the means of artistic expression in the study books in order to compare traditional and innovative appliance of the means of artistic expression.

CERN European Organization for Nuclear Research - Zenodo, 2022

In this article, the complexities of the concept of texture and its relationship to (arts) education, here with a specific focus on attention, awareness and sensitivity, are explored and elaborated upon. Texture can be described simply as the visual and tactile character of surfaces, which covers both nature and culture and, indeed, much of life itself. The overall aim of the article is to explore the following: (i) (arts) education through the lens of texture; (ii) texture, education and the arts as they relate to bodily and sensory experiences; and (iii) texture and (arts) education in relation to silence, silent spaces and repetition. The ultimate goal is to develop theoretical and philosophical insights into diverse understandings of texture as they relate to (arts) education as a way to illuminate and sharpen the sentience and appreciation of its meaning and importance for students in the classroom. The article is theoretically founded on the thinking of the French philosophers Maurice Merleau-Ponty and Mikel Dufrenne. The ways in which texture, education and the arts are related to bodily and sensory experiences are outlined and discussed, which is followed by an exploration of silence, silent spaces and repetition as essential elements of both texture and education. The discussion is exemplified by a narrative, here in the form of a paradigmatic case, of students examining texture in the classroom. To conclude, texture encourages or elicits attention, awareness and sensitivity, all of which are of significance not only for (arts) education, but also for the formation of society-for the formation of our lives.

2004