Investigating the Impact of Contrasting Paradigms of Knowledge on the Emancipatory Aims of Gallery Programmes for Young People

Within an emerging philosophy of contemporary gallery education, new pedagogies are required to meet the demands of looking at art, with increasingly varied constituent groups. Strategies that aim to empower young learners come from an ideological framework in which knowledge is negotiated and local significances are produced conversationally by learners and facilitators. Tension exists between the ideological position and the role of the gallery as ‘expert’: this conflict creates ambivalence towards the learner. The discourse of the ‘expert’ and the discourse of ‘local negotiation’ employ different pedagogic strategies, creating tension in the ways in which knowledge is reproduced for the visitor and participant. This article explores interrogatory pilot work with young people at Tate Modern. I use a hermeneutical approach to explore the interpretive roles of facilitator and participant when language‐based strategies are used to look at art. This research aims to construct a pedagogy that enables young people to learn about art in ways that take account of their situation as learners.     

‘Who Thinks this Teaspoon Is Art?’ A Discourse Analysis of Elementary School Students' Negotiation of Meaning During Art Museum Visits

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.     

Making Art,Teaching Art,Learning Art: Exploring the Concept of the Artist Teacher

The article explores the concept of the artist teacher, drawing upon an overview of relevant literature and two related pieces of research: the first investigated practices within the Artist Teacher Scheme (ATS); the second sought to understand the perceptions of practice‐based coursework in an MA Art Education programme at Roehampton University in London. Commonalities and differences between the perceptions and understandings of artist teachers (including masters' students), their tutors and gallery educators were explored. The data for each piece of research were collected through unstructured, open‐ended interviews. A significant reflexive and autobiographical dimension for the research was motivated by my own identity as an artist teacher, and by the exploration of reflective practice as a potential framework for realising and sustaining an artist teacher identity and practice. The research concluded that connections between art practice and teaching are complex, diverse, difficult to articulate, challenging to implement and do not easily lend themselves to simple impact measurement. The ATS operates in a context that includes languages, cultures and identities from frameworks in education and art that can be both complementary and oppositional. Artist teachers need to develop skills of negotiation through which they can articulate and continuously reappraise their art practice and, at an appropriate stage, use that practice to inform their teaching.     

Black History Month and African Caribbean Student Learning in Art

This article looks at the concept of Black History Month and its implications for teaching and learning in art and design education. It argues that the concept of Black History Month should be discarded because it tends to promote a separatist notion of culture and that it deflects from an understanding of culture as a plural and intermeshing process. The paper interrogates history as a discourse, problematising our use of the word. The article then looks through the eyes of two groups of African Caribbean young people at Black History Month, as a curriculum initiative. The first group was interviewed at a south London gallery and the second at a conference for African Caribbean learners in Oxford. Two art and design educationalists who participated in the research project that included the south London young people make a significant contribution to the paper. It concludes with a personal interpretation of movements in art and the practice of a contemporary artist whose work endorse the key philosophical position posited in the text that culture is always a process on interweaving.     

设计型学习:探究性教学新样式——兼论尼尔森的逆向思维学习过程模型

针对探究性教学中"基于剧本的探究"的局限性,设计型学习提出以项目设计为中介,强调学生参与到具有挑战性的真实的设计项目中有意义地学习科学知识和设计技能。相对传统探究性学习,设计型学习在体验设计感、投入有意义学习、学习成果制品化、学习过程迭代化、教学设计逆向性等方面凸显其教学革新价值,逆向思维学习过程模型为设计型学习的实施提供了一个可操作框架。     

Multiplicities in Motion: A Turn to Transliteracies

ABSTRACT

In an effort to draw attention to the mobile dimensions of meaning making, this article proposes a pedagogy of transliteracies, supporting educators and learners in critically reflecting on how people, media, and things are connected across space and time. Expanding on the New London Group’s (1996) multiliteracies vision of communicative and ideological multiplicities, we articulate the importance of moving from multi- to trans- to highlight the mobile and emergent aspects of meaning making. We work through a classroom example to consider the contours of literacies and learning practices for making meaning on the move. We argue that in a mobile and digitally networked world, a pedagogy of transliteracies draws much needed attention to people and things connecting, relating, and intersecting, and also to how these connections, relations, and intersections occur in unequal ways that support some learners and disenfranchise others.     

A framework for fostering a community of practice: scaffolding learners through an evolving continuum

This paper proposes a framework of an evolving community of practitioners along a simulation, participation, and codetermined interactions continuum. Simulation, participation, and codetermined interactions are three models of learning, which describe how learners can be brought through a scaffolded process within a community experience. The framework also focuses on the processes rather than on the outcomes or products of a community. In this paper, we describe a case study of a group of heads of Information and Communications Technology (ICT) in schools being scaffolded through an experiential workshop to achieve learning outcomes such as ICT‐based project work (as product) and other constructivist dispositions of learning (as processes). The proposed framework is intended to be sufficiently broad so that learners are supported from simulation to codetermined interactions where autonomy of learners’ co‐construction efforts are encouraged and experienced.     

Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching

Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.     

Developing Online Graduate Coursework in Adapted Physical Education Utilizing Andragogy Theory

Graduate adapted physical education (APE) courses have typically been taught using face-to-face formats where the instructor and learners physically meet in a classroom and engage in discussions and experiential exercises. However, because in-service physical educators have time demands associated with teaching, coaching, and family commitments, face-to-face meetings may not be feasible. Therefore, online learning may provide a more efficient and effective method for training in-service physical educators to become APE specialists. The purpose of this article is to disseminate guidelines for developing and implementing online coursework in APE within the theoretical framework of andragogy (adult learning). In this article, the authors describe characteristics and implementation of an online APE graduate course for in-service physical educators based on andragogy theory. Andragogy theory addresses the particular needs of adult learners and is based on the idea that there are significant differences in learning characteristics between children and adults (Knowles, 1989). This article first describes four components fundamental to andragogical instruction: experiential learning, self-directed learning, engagement, and transformative learning. The narratives provide information and characteristics about online APE course development for PE teachers’ professional development and how andragogy approach is a useful and beneficial approach to enhance learning.     

从活动理论看学校学习

本简要概述了活动理论对维果茨基思想的继承、发展及活动理论自身的发展情况，以活动理论的视角分析传统的学校学习中存在的问题并提出解决的途径，包括通过作为学习目标的知识向学习任务的转化，使学习成为一种探究性的活动，学生通过积极参与和主动建构获得新知识，了解知识的意义；同时关注学习过程中的个体和共同体；注重学习和教学过程的动态性和非预定性。     

A Shared Place of Discovery and Creativity: Practices of Contemporary Art and Design Pedagogy

This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.     

Contemporary Art and Art in Education: The New,Emancipation and Truth

This article assembles some ideas on equality and learning in relation to the notions of truth and emancipation. It considers learning as a political act, as defined by Jacques Rancière and Alain Badiou, rather than, for example, an incremental process of psychological or sociological development. Practical exemplifications will be taken from contexts of art practices and art in education, but the general argument is directed at learning and equality across all human endeavours. The article discusses the idea of the truth of learning as something which ruptures existing frameworks of practice and knowledge and ponders the kind of pedagogies we require to inform effective pedagogic action. To this end it proposes what might be termed pedagogies against the state, or pedagogies of the event, in order to respond to acts of learning that involve leaps of becoming into a new or reconfigured world.     

Science and Society‐‐a Report on Science Education Activities Organized and Co‐ordinated by the Council of Europe

This study explores the tension between subject knowledge and pedagogic content knowledge in primary teacher education. It documents students and in-service teachers learning about forces within the context of floating and sinking. In doing so it describes not only significant features of the learning process itself but also examines subject specific aspects of learning, identifying some of the inherent difficulties for learners within this domain and demonstrating how learners construct links between tacit knowledge and abstract scientific notions. Implications for teacher education and the teaching of science in the classroom are explored.     

Teaching and Learning in the Age of Questions

Engaged questioning and focused listening are requisite tools in developing and enhancing students’ thinking skills. For educators, the ability to ask the right question at the right time is an essential instructional skill. Thought-provoking questions trigger an array of responses which reveal who learners are experientially, where learners are going instructionally, and how educators and students connect relationally. When insightful questions go unasked or unanswered, individual and collective learning is constrained for teachers and students alike.     

Moving Fiercely Linear Preservice Teachers into the Joys of Integrating Art in the Classroom: An Artist Residency in a University Early Childhood and Special Education Program

How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow.     

面向情境体验的在线学习课程设计

情境认知理论和体验式学习理论强调知识在实际情境中的迁移,重视学习者在学习中的情境体验和经验对学习的重要作用。基于这一理论,可以建立面向情境体验的在线学习课程框架。该框架采用“主题一专题一体验圈”的组织形式,强调导学情境、交流研讨、多媒体呈现、拟真任务设计、反思与总结等策略。将这一设计框架应用到《多元智能教学应用》在线学习课程实例的设计与开发中,可以得出两点主要结论：一是在情境体验学习理论的指导下,学习者的整体学业成绩高于平均水平;二是学习者对该在线课程的总体框架和学习体验的满意度均较高。     

Continuing the Journey—the Artist‐Teacher MA as a Catalyst for Critical Reflection

This article discusses the personal experience of reading an Artist‐Teacher MA, both as a way of engaging with a course of study aimed specifically at art teachers and also as an attempt to explore and possibly reconcile the pedagogic issues related to the area of critical and contextual studies that had arisen within my own practice. Critical and contextual studies has grown to become an essential component of art education in schools, yet there would appear to be limited pedagogic approaches amongst art teachers or enthusiasm for alternative curriculum models other than those inferred from exemplar material provided by examination boards for assessment purposes. As a consequence of engaging with the Artist‐Teacher MA, I confronted my pedagogic practice and reconsidered my personal position within the continuum of the role of teacher and that of artist. In turn this has led me to consider the notion of the pupil‐artist and and to question the implications of this for my continuing classroom practice.     

PDAs as lifelong learning tools: an activity theory based analysis

This paper describes the use of an activity theory (AT) framework to analyze the ways that distance part time learners and mobile workers adapted and appropriated mobile devices for their activities and in turn how their use of these new tools changed the ways that they carried out their learning or their work. It is argued that there are two key strengths in using an activity theory framework in this context. The first strength is the emphasis activity theory places on tools, including computer artefacts, as mediators of activity. This emphasis focuses attention on the activity itself rather than, for example, simply the interaction between the human and the computer. The focus is on the learner or user’s objectives and activities and the computer is the tool through which the user achieves her objectives. The second strength was referred to briefly above. The AT perspective also enabled analysis of an interactive dynamic process of users or learners and their tools—in this case personal digital assistants (PDAs). It revealed a two way process in which the user adapts the tools they use according to their everyday practice and preferences in order to carry out their activities; and how, in turn, the tools themselves also modify the activities that the user is engaged in. Three case studies illustrate these processes. The first case study is of distance learners’ use of e‐books on PDAs, to supplement their access to other static media such as books and computers. The second case study investigated how mobile workers in the energy industry used mobile devices to access information when away from the office. The third and final case study investigated the use of mobile devices in an art gallery. The paper concludes with a discussion of the information access needs that are apparent in each of these learning contexts, and highlights the pertinent issues in the use of mobile technologies to support lifelong learners’ information needs.     

Creativity,Art and Learning: A Psycho‐Social Exploration of Uncertainty

What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not‐knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.