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Статті в журналах з теми "Practice-led inquiry"
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Power, Nigel. "You Can’t Get There From Here: Discovering Where to Begin a Practice-led Inquiry – Notes and Reflections from Thailand." Revista GEMInIS 13, no. 3 (2022): 58–70. http://dx.doi.org/10.53450/2179-1465.rg.2022v13i2p58-70.
Повний текст джерелаАнотація:
This article focuses critical attention on an often-overlooked aspect of practice-led research in art and design – how and where practice-led research projects begin. In particular, the article describes and discusses an MFA class in Visual Communication at a Thai University that provides a structured approach to producing what the author describes as good beginnings. Rather than resulting from the decision to continue existing approaches to practice or selecting a new topic for inquiry, the author argues that good beginnings emerge from an intensive period of pre-inquiry that, at one and the same time, invites students to engage with and unpack the motivations and concerns that underly their practices, explore these through practical experimentation, locate them within relevant theoretical contexts, and by so doing, begin the process of reimaging their practice-in-itself as a form of practice-as-inquiry. Working in a situation where artistic inquiry is dominated by conventional understandings of research and the hegemony of linguistic forms of the presentation of knowledge, the author pays particular attention to addressing the complex entanglements of words and works in the development of practice-led projects in a university setting.
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Rama, Jennifer A., Carla Falco, and Dorene F. Balmer. "Using Appreciative Inquiry to Inform Program Evaluation in Graduate Medical Education." Journal of Graduate Medical Education 10, no. 5 (October 1, 2018): 587–90. http://dx.doi.org/10.4300/jgme-d-18-00043.1.
Повний текст джерелаАнотація:
ABSTRACT Background Graduate medical education programs are expected to conduct an annual program evaluation. While general guidelines exist, innovative and feasible approaches to program evaluations may help efforts at program improvement. Appreciative Inquiry is an approach that focuses on successful moments, effective processes, and programs' strengths. Objective We implemented a novel application of Appreciative Inquiry and its 4 phases (Inquire, Imagine, Innovate, and Implement) and demonstrate how it led to meaningful improvements in a pediatric pulmonology fellowship program. Methods As part of the Inquire and Imagine phases, the authors developed an interview guide that aligned with Appreciative Inquiry concepts. Two faculty members conducted semistructured interviews with a convenience sample of 11 of 14 fellowship alumni. Interviews were audiotaped, transcribed, and reviewed. A summary of the findings was presented to the Program Evaluation Committee, which then directed the Innovate and Implement phases. Results Appreciative Inquiry was acceptable to the alumni and feasible with the authors' self-directed learning approach and minimal administrative and financial support. In the Inquire phase, alumni identified program strengths and successes. In the Imagine phase, alumni identified program changes that could aid transition to independent practice for future fellows (an identified program goal). Based on the results of the Appreciative Inquiry, program leadership and the Program Evaluation Committee selected improvements for implementation. Conclusions For small programs, Appreciative Inquiry is an innovative and feasible approach to program evaluation that facilitates actionable program improvement recommendations.
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Blair, Sheena E. E., and Linda J. Robertson. "Hard Complexities – Soft Complexities: An Exploration of Philosophical Positions Related to Evidence in Occupational Therapy." British Journal of Occupational Therapy 68, no. 6 (June 2005): 269–76. http://dx.doi.org/10.1177/030802260506800605.
Повний текст джерелаАнотація:
The practice of occupational therapy rests upon the ontological assumption that there is a relationship between engagement in occupation and health. Different traditions of knowing about and investigating this relationship are evident within the literature. The professional link with biomedicine has led to an adherence to positivistic methodologies but, as the profession has begun to generate discipline-specific knowledge, inquiry approaches consistent with interpretative and critical theory have become evident. This paper explores the nature of inquiry underpinning current practice. It suggests that contemporary developments have been a reaction to a climate of uncertainty, generated by rapid political, fiscal, technological and ideological change in the delivery of health and social care in the last four decades. From these rapid changes, different views of ‘best practice’ have developed: evidence-based, reflective and reflexive practice, each with its own source of knowledge and method of inquiry. It is postulated that each of these views has implications for education, practice and research.
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Kwon, Hyejin. "An inquiry into Perceptions and Dilemmas of Early Childhood Teachers on Child-led Play Practice." Journal of Children’s Media & Education 19, no. 2 (June 30, 2020): 109–31. http://dx.doi.org/10.21183/jcme.2020.6.19.2.109.
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Arora, Uma. "Deepen: A New ‘D’ for a More Generative Appreciative Inquiry." AI Practitioner 23, no. 2 (May 3, 2021): 73–87. http://dx.doi.org/10.12781/978-1-907549-47-2-11.
Повний текст джерелаАнотація:
Author Uma Arora uses scholarly personal narrative and critical incident methods to share insights that led her to add a new phase in appreciative inquiry interventions with her clients: Deepen. She explains when and how to use this ‘new D’ within AI, situating her thinking in the context of emerging OD theory and practice.
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Chung, Simmee. "A Reflective Turn: Towards Composing a Curriculum of Lives." LEARNing Landscapes 2, no. 2 (February 2, 2009): 123–38. http://dx.doi.org/10.36510/learnland.v2i2.299.
Повний текст джерелаАнотація:
This study is part of a larger inquiry (Clandinin & Connelly, 2000), attended to children’s, teachers’, and parents’ narratives of experience situated within institutional, cultural, and social narratives shaping particular school contexts. As one teacher engaged in an autobiographical narrative inquiry alongside her mother’s lived and told stories, she learned curriculum making is intergenerational and woven with identity making. This teacher’s narrative inquiry led her to new ways of knowing, reshaping her practice. The study illuminates the importance of attending to the interwoven, intergenerational stories of teachers, children and parents stories in co-composing a curriculum of lives.
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Gindin, Elia, Meaghan Van Steenbergen, and Douglas L. Gleddie. "Strangers No More: Collaborative Inquiry Through Narrative as Teacher Reflective Practice." LEARNing Landscapes 14, no. 1 (June 24, 2021): 83–95. http://dx.doi.org/10.36510/learnland.v14i1.1044.
Повний текст джерелаАнотація:
Two teachers and a professor engaged in collaborative inquiry through narrative as a form of reflective practice, pedagogical growth, and practitioner research. Using a Deweyan lens and elements of narrative inquiry, we consider our stories of teaching through a supportive, growth-based sharing process. Viewing pedagogical experiences through this lens enabled us to enter each other’s worlds and engage in reflection—together. Our work speaks to the situations that arise when expectations conflict with reality. The process of reflecting and re-reflecting led us to the conclusion that engagement in this fashion is a valuable reflexive method for teacher professional growth.
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Calabrese, Raymond. "A collaboration of school administrators and a university faculty to advance school administrator practices using appreciative inquiry." International Journal of Educational Management 29, no. 2 (March 9, 2015): 213–21. http://dx.doi.org/10.1108/ijem-03-2014-0028.
Повний текст джерелаАнотація:
Purpose – An appreciative inquiry (AI) collaborative study with 11 school administrators in a highly diverse suburban school district sought to understand if observing and sharing successful school practices/events in a whole group setting led to change in their perceptions, attitudes, and administrative practice. The paper aims to discuss these issues. Design/methodology/approach – The study took place over a ten-week period with a group of self-selected (voluntary participation) school administrative participants. Findings – There were two findings: the AI focus of inquiry on successful practices/events shapes school administrator perceptions, attitudes, and application of craft knowledge to practice; and the school administrators’ sharing of successful practices/events in a whole group setting generated new forms of practice during the ten-week study. Originality/value – The findings suggest that reflection and integration of successful practices/events are a source of craft knowledge advancing changes in school administrative practice.
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Thomas, Gary. "Changing Our Landscape of Inquiry for a New Science of Education." Harvard Educational Review 82, no. 1 (March 26, 2012): 26–51. http://dx.doi.org/10.17763/haer.82.1.6t2r089l715x3377.
Повний текст джерелаАнотація:
In this essay, Gary Thomas argues that education research repeatedly makes a mistake first noted by Dewey: it misunderstands our science. This misunderstanding has led to attempts to import various putatively scientific precepts into education inquiry. But in reality, he argues, those “scientific” precepts do not characterize scientific endeavor, which is fluid and plural: science flexes to any angle to answer the questions that are posed in any field. Questions in education concern worlds of practice and social relations where change and corrigibility draw the parameters for inquiry. Education research becomes valuable only when it takes account of the reality of the educational endeavor. Thomas urges us to strive to forge a new science of education based on singular and shared understandings of such practice.
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Ervik, Hilde, Tone Pernille Østern, and Alex Strømme. "A narrative inquiry into fishermen’s experience-based knowledge." Journal for Research in Arts and Sports Education 6, no. 4 (September 30, 2022): 43–58. http://dx.doi.org/10.23865/jased.v6.3287.
Повний текст джерелаАнотація:
The context of this article is a science teacher educator’s interest in experience-based learning. This led her to an exploration of the experience-based knowledge of five elderly professional fishermen in the small fishing community of Mausund in Norway. The research question guiding the article is: How can professional fishermen’s experience-based knowledge be explored through narrative inquiry? As a conclusion, embodied culture or a lived community of practice with a clear social dimension is highlighted as a way of becoming a fisherman that the use of narrative inquiry methodology helps to become articulated and thereby visible as knowledge. This embodied culture and lived community of practice with a clear social dimension has not only shaped the fishermen’s knowledge about fishing, but also their attitude to narration, to storytelling. They are brought up in a culture in which talking and telling is neither expected nor encouraged, which influences the interviews. The fishermen are not unwilling to tell, but they are not used to thinking about their own knowledge as fishermen, as knowledge. Little by little, through the interviews, their experience-based knowledge is narrated and articulated. In other words, the narrative inquiry methodology opens for embodied culture being articulated, visible as knowledge, and thereby possible to discuss as valuable within science education.
Дисертації з теми "Practice-led inquiry"
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Stephensen, Paul. "Designing ePortfolios for music postgraduate study : a practice-led inquiry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/35751/1/Paul_Stephensen_Thesis.pdf.
Повний текст джерелаАнотація:
In this research I have examined how ePortfolios can be designed for Music postgraduate study through a practice led research enquiry. This process involved designing two Web 2.0 ePortfolio systems for a group of five post graduate music research students. The design process revolved around the application of an iterative methodology called Software Develop as Research (SoDaR) that seeks to simultaneously develop design and pedagogy. The approach to designing these ePortfolio systems applied four theoretical protocols to examine the use of digitised artefacts in ePortfolio systems to enable a dynamic and inclusive dialogue around representations of the students work. The research and design process involved an analysis of existing software and literature with a focus upon identifying the affordances of available Web 2.0 software and the applications of these ideas within 21st Century life. The five post graduate music students each posed different needs in relation to the management of digitised artefacts and the communication of their work amongst peers, supervisors and public display. An ePortfolio was developed for each of them that was flexible enough to address their needs within the university setting. However in this first SoDaR iteration data gathering phase I identified aspects of the university context that presented a negative case that impacted upon the design and usage of the ePortfolios and prevented uptake. Whilst the portfolio itself functioned effectively, the university policies and technical requirements prevented serious use. The negative case analysis of the case study found revealed that Access and Control and Implementation, Technical and Policy Constraints protocols where limiting user uptake. From the semistructured interviews carried out as part of this study participant feedback revealed that whilst the participants did not use the ePortfolio system I designed, each student was employing Web 2.0 social networking and storage processes in their lives and research. In the subsequent iterations I then designed a more ‘ideal’ system that could be applied outside of the University context that draws upon the employment of these resources. In conclusion I suggest recommendations about ePortfolio design that considers what the applications of the theoretical protocols reveal about creative arts settings. The transferability of these recommendations are of course dependent upon the reapplication of the theoretical protocols in a new context. To address the mobility of ePortfolio design between Institutions and wider settings I have also designed a prototype for a business card sized USB portal for the artists’ ePortfolio. This research project is not a static one; it stands as an evolving design for a Web 2.0 ePortfolio that seeks to refer to users needs, institutional and professional contexts and the development of software that can be incorporated within the design. What it potentially provides to creative artist is an opportunity to have a dialogue about art with artefacts of the artist products and processes in that discussion.
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Ellis, Simon K. "Indelible : a movement based practice led inquiry into memory,remembering and representation /." Connect to thesis, 2005. http://repository.unimelb.edu.au/10187/975.
Повний текст джерелаАнотація:
Indelible is a performance and dance research project. It has three outcomes or pathways, presented on DVD-ROM, via which the user-reader can experience multi-modal perspectives on remembering, memory, and representing performative ideas, events and actions. These pathways are video, writing and interactive and together they form a series of hypermedia framings by which the corporeal and philosophical underpinnings of the project are witnessed. The research is considered to be practice-led, in which my practice consists of choreographic strategies, physical actions, media-based processes, and writing. Within these core representations I have sought to confront the methodological and theoretical paradox affecting performance makers electing to recontextualise their work beyond live processes. How might the absence or disappearance of a so-called live work contribute to the overall design and representational practices underlying the outcomes? In this sense the three pathways that comprise Indelible generate a complex network of artistic, scholarly, poetic, and methodological layerings or enfoldings in which the user-reader is presented with possibilities for experiencing the vital subjectivity and inherent fallibility of memory and remembering. (For complete abstract open dopcument)
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Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.
Повний текст джерелаАнотація:
This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative.
This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring.
The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country.
This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.
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Spicer, Malory E. "Digital Animation as a Method of Inquiry." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437499872.
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Buttress, J. "The metaphorical value of lace in contemporary art : the transformative process of a practice-led inquiry." Thesis, Nottingham Trent University, 2013. http://irep.ntu.ac.uk/id/eprint/350/.
Повний текст джерелаАнотація:
This thesis examines lace as a metaphor in contemporary art, comprising a practice-led inquiry based on the lace archive of Nottingham Trent University. Lace is placed in the context of creative art practice to establish an overview and understanding of the multifarious associations used to articulate ideas and concepts. This study explores the integration of lace themes into my current art practice while adopting methods of research that reflect on and challenge the tacit knowledge already present in my creative process. An action research methodology is implemented, introducing reflective activities to question my concept development and instigate change. Case studies are used to gain a deeper understanding of how and why the application of lace themes and metaphors are present in contemporary art. The research process has a cyclical form in that my art practice is a case study that informs and enriches my creative process. A theoretical inquiry is established, contributing to a philosophical framework built around ideas that encompass lace and the body, addressing the reappropriation from a fabric that once signified only wealth and status to a material that now adds a sexual charge to garments through the relationship it has with skin. The theoretical and metaphorical understanding of lace gained as part of this inquiry is clearly defined through the documented conception and manufacture of a new body of artwork, demonstrating the transformation of my practice through academic research. Artworks were developed that explored the emotive space between historical lace pattern and the surface of the skin with an aim to translate the ambiguity of lace while reflecting multiple layers of opposing themes. The artworks produced were displayed in a solo show entitled Lacuna in February 2012 at the Bonington Gallery, Nottingham Trent University.
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Fabian, Andreas. "Spoons & spoonness : a philosophical inquiry through creative practice." Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/10110/.
Повний текст джерелаАнотація:
A social etiquette has emerged around the consumption of food in the West which requires the use of cutlery – knife, fork and spoon. It is the spoon that is the subject of this thesis, a utensil so familiar as to have become almost invisible. The significance of the spoon should not be underestimated and it is employed in this study as a device to offer insight into material practices, examine theoretical issues in relation to design and explore the culture of representation that has developed around objects in the contemporary field of visual and material culture. In this sense this thesis can be seen as located in the blurred boundaries of art, craft and design and as constituting a text which contextualises and supports a collection of artefacts developed in the course of a 'practice led' Art and Design PhD. The spoon exists not only as an object whose usefulness transcends time but also in terms of a metaphorical singularity; as an idea with an infinite number of possible interpretations and material manifestations. This thesis originates in the idea of a reflective cross-disciplinary enquiry intended to explore fundamental questions around what the author defines as “spoonness”, articulating that which might otherwise be articulated through (and subsumed in) the making of the object itself. Significantly, by tracing the journey of the authors film „Emilie Eating Soup‟ together with the various objects, exhibitions and catalogues developed in the course of this research, this thesis also contributes to current critical discourse from the perspective of the practitioner - a voice that in the past has often been absent from academic discourse. It opens up the creative processes to scrutiny and further comment, and serves as a model of analysis to others in the field of material culture to aid reflection upon their own practice and generate new modes of innovation. A critical reflection upon the works subsequent reception at a series of prestigious international exhibitions and events is made throughout this thesis. These materials, together with this text, combine to represent the broad arc of this author‟s creative practice and collectively define the innovative nature of this PhD.
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Lloyd, Cathryn Ann. "Artful inquiry : an arts-based facilitation approach for individual and organisational learning and development." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/43940/1/Cathryn_Lloyd_Thesis.pdf.
Повний текст джерелаАнотація:
The research undertaken in these two major doctoral studies investigates the field of artsbased learning, a pedagogical approach to individual and organisational learning and development, my professional creative facilitation practice and development as a researcher. While the studies are stand-alone projects they are intended to build on each other in order to tell the evolving story of my research and professional practice. The first study combines The Role of Arts-based Learning in a Creative Economy; The Need for Artistry in Professional Education the art of knowing what to do when you don’t know what to do and Lines of Inquiry: Making Sense of Research and Professional Practice. The Role of Arts-based Learning in a Creative Economy provides an overview of the field of arts-based learning in business. The study focuses on the relevant literature and interviews with people working in the field. The paper argues that arts-based learning is a valuable addition to organisations for building a culture of creativity and innovation. The Need for Artistry in Professional Education continues that investigation. It explores the way artists approach their work and considers what skills and capabilities from artistic practice can be applied to other professions’ practices. From this research the Sphere of Professional Artistry model is developed and depicts the process of moving toward professional artistry. Lines of Inquiry: making sense of research and professional practice through artful inquiry is a self-reflective study. It explores my method of inquiry as a researcher and as a creative facilitation practitioner using arts-based learning processes to facilitate groups of people for learning, development and change. It discusses how my research and professional practice influence and inspire the other and draws on cased studies. The second major research study Artful Inquiry: Arts-based Learning for Inquiry, Reflection and Action in Professional Practice is a one year practice-led inquiry. It continues the research into arts-based and aesthetic learning experiences and my arts-based facilitation practice. The research is conducted with members of a Women’s Network in a large government service agency. It develops the concept of ‘Artful Inquiry’’ a creative, holistic, and embodied approach for facilitation, inquiry, learning, reflection, and action. Storytelling as Inquiry is used as a methodology for understanding participants’ experiences of being involved in arts-based learning experiences. The study reveals the complex and emergent nature of practice and research. It demonstrates what it can mean to do practice-led research with others, within an organisational context, and to what effect.
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McGarry, Dylan. "Empathy in the time of ecological apartheid : a social sculpture practice-led inquiry into developing pedagogies for ecological citizenship." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013154.
Повний текст джерелаАнотація:
Considering the ecological crisis and the increased disconnection between human beings and nature, this study attempts to find the social and aesthetic educational response needed for developing ecological citizenship for the 21st century. In this transdisciplinary study I articulate what at first seems a clumsy attempt to enable the capacities of the embodied ecological citizen, and which later emerges as an alchemical ‘social sculpture’ approach to learning that expands the range of capacities available to the citizen and the citizen’s immediate community. This learning bridges the gap between purely biocentric and technocentric forms of education, and addresses the ambiguity of concepts and forms of action such as ‘sustainability’. My primary focus is enabling both communal and personal forms of agency: new ways of 'doing’ and 'being' in the world as it changes radically. I argue that this demands constantly reflecting on and engaging without understanding, place and perception of the problems we see. Attending to a call for the importance of complex learning processes, that deepens our understanding of sustainability, and the need for methodological and pedagogical approaches to accessible forms of learning socially in the era of climate change and environmental degradation, this study offers a particular insight into the education of an ecological citizen. In particular I examine a form of learning that enables individuals to explore relationships between themselves and their ecologies (both physical and social), and that encourages personal forms of knowing so that each person’s values can be cultivated within the experience and intuitive expression from both inner and outer realities. Central to my research focus is addressing the difficulties inherent in ‘ecological apartheid’, which is defined as a growing separation of relationships that include the human being’s relationship with the natural world, as well as disconnections experienced within one’s own inner and outer capacities. Subsequently I investigate forms of learning that encourage agency that most appropriately enable citizens to respond personally to both inner and outer forms of disconnection. ‘Personal’ and ‘relational agency’ are defined and investigated through an initial twelve-month collaborative participatory contextual profiling exploratory research period in South Africa (phase A), where I explore various forms of multiple-genre creative social learning practice that develop an accessible set of methodologies and pedagogies for the ecological citizen. Through this exploratory research, I place significance in the relatively unknown field of social sculpture, which I investigate through a self-made apprenticeship with Shelley Sacks, an expert in the field. This is documented through a rigorous ethnographic inquiry over a period of 18 months. Following this I undertake another two-year collaborative, practice-based research study across South Africa (phase B: 17 towns, with a total of 350 citizens) and eventually abroad (United Kingdom, Germany, USA and Belgium).The focus of this study was the implementation of a collaboratively developed citizen learning practice entitled Earth Forum developed by Shelley Sacks as a progression from her work “Exchange Values: voices of insivible lives” and my collaboative exploration into Earth Forum and its further development draws heavily from social sculpture methods obtained during the apprenticeship, and applied in 36 different incidences. I further explore the efficacy of this practice in enabling and expanding the capacities of participants, particularly those that encourage the development of personal and relational agency. This was achieved through a pedagogical development and expansion period (phase C). A primary finding through the iterative phase (phase D) was the value of imaginal contemplation, attentive listening, and empathy as capacities that enable an ecological citizen’s overall capability. I ascribed this to Nussbaum and Sen’s (1993) capability theory and the need to enable the articulation and implementation of a citizen’s valued ‘beings and doings’. Through this iterative phase, specific attention is given to listening and intuitive capacities in enabling personal and relational agency, and specifically I observed the fundamental role of imagination in this form of learning. Particularly valuable for the educational contribution of this study is the pedagogical development of the Earth Forum practice that enables an accessible, socially constructed form of learning. This contributes specifically to exploring ‘how’ social learning is undertaken, and I argue that an aesthetic approach to learning is vital for the education of the ecological citizen. I carefully describe how one can conduct collaborative practice-based research that utilises creative connective practice in agency development. This collaborative approach, with regard to learning socially and capacity development for ecological citizenship (that focuses its attention on addressing ecological apartheid and separateness), is articulated through a multiple-genred text. I found that empathetic capacity in ecological citizen education is relatively unexplored, and within listening and as well in empathy theory, that the role of imagination in listening and empathy development, requires greater attention. I attempt to reveal how connective practice considers aesthetic form and shape in expanding capacities of human beings, and introduce novel expanded forms of developing pedagogies that encourage personal and relational agency in the context of ecological apartheid from the artsbased field of social sculpture. Finally, I aim in this study to share the potential value found in social sculpture theory and practice into the field of environmental education and social learning through a reflection on the current context of education and social learning, and its potential enrichment via social sculpture processes.
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Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.
Повний текст джерелаАнотація:
This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum.
In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014.
This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability.
Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.
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Stevens, Karen J. "Transition: Exchange establishing a visual arts practice based on personal pedagogy." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89698/4/Karen_Stevens_Thesis.pdf.
Повний текст джерелаАнотація:
There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist.
Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.
Книги з теми "Practice-led inquiry"
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McNay, Lois. The Gender of Critical Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198857747.001.0001.
Повний текст джерелаАнотація:
Frankfurt School Critical Theory describes itself as an unmasking critique of power, but it has surprisingly little to say about major structural oppressions, including gender. In diagnosing what is wrong with the world, it claims to be guided by the experiences of oppressed groups. Yet, in practice, it pays little heed to these experiences. This book shows how these oversights and tensions stem from the preoccupation with normative foundations that has dominated Frankfurt School theory since Habermas and has given rise to a mode of paradigm-led inquiry that undermines an effective critique of oppression. The assumption of paradigm-led inquiry that too strong a focus on lived experience has parochializing effects on theory stands in tension with the idea that emancipatory critique ought to be primarily concerned with exposing the situation of oppressed groups. This book offers a reconfigured account of context transcendence as the critical insight afforded not by a monist interpretative paradigm but by reasoning dialogically across experiential and theoretical perspectives. By bringing feminist work on gender to bear on Frankfurt School critical theory, it argues that, far from stymying emancipatory critique, attentiveness to the experiences of oppressed groups is one of its enabling conditions. Combining feminist ideas with inherent but underutilized resources in the Frankfurt School tradition, this book proposes the idea of critique as theorizing from experience.
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Wacks, Raymond. 4. Privacy and freedom of expression. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198725947.003.0004.
Повний текст джерелаАнотація:
The genesis of the American law’s protection of privacy was its concern to limit or control the extent to which an individual’s private life is subjected to unauthorized publicity conducted by the media. The tabloid press in Britain has been embroiled in a number of cases involving royalty, pop stars, film stars, fashion models, and the like. The telephone hacking scandal in the United Kingdom led to the the Leveson Inquiry Report of 2012—the most comprehensive investigation into the ethics and practice of the media, with a significant section devoted to privacy and media intrusion. Its recommendations relating to media self-regulation continue to engender heated debate in Britain. The Internet raises new, intractable problems that surface almost daily. The extent to which privacy is voluntarily relinquished by users of social networks such as Facebook, Twitter, and YouTube is examined, and proposals for reform are considered.
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Smith, Justin E. H. Philosophy as a Distinct Cultural Practice. Edited by Jonardon Ganeri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199314621.013.46.
Повний текст джерелаАнотація:
This chapter analyzes the cultural features in the ancient world that led to the emergence of philosophy as a distinct cultural activity and examines the way in which Indian philosophy, in contrast to the cases of Greece and China, may be understood in relation to these cultural features. It examines the influence of the technology of writing, as well as of natural-scientific inquiry, especially in the domain of health and medicine, and the transregional importance of literacy and science for the project of philosophy, while also showing that Indian philosophy functions throughout the classical and into the modern period as a relatively discrete intellectual activity. Finally it shows, by comparing the French materialist philosopher Pierre Gassendi with Indian philosophers in the mid-1660s, how differences in the two philosophical traditions’ relationships to literacy and science continued to play a role in the perception of a philosophical divide between these two traditions.
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Schiltz, Michael. Accounting for the Fall of Silver. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198865025.001.0001.
Повний текст джерелаАнотація:
Whereas the emergence of the classical gold standard (1870‒1914) has attracted considerable attention in the economic literature, only very few authors have inquired into the protracted confidence crisis of silver. Building on the results of Calomiris, Oppers, and Flandreau, this book explores the evolution of management practice in exchange banks in Asia. Using ‘forensic accounting’, it attempts to show that contemporaries were aware of problems caused by the gyrations of the silver price after 1870, and that they sought to actively remedy their harmful effects on trade between gold and silver using countries. It describes how the experiment with financial instruments, although originally mishaps, eventually led to success. Next, and contrary to the commonly held belief that nineteenth-century bankers did not have a sophisticated understanding of hedging strategies, it shows, in a quantitative way, that hedging strategies existed, impacting banks’ operations in profound ways. More specifically, it uses the mostly unexplored accounting data and archives of the Yokohama Specie Bank (YSB; the world’s third largest exchange bank before World War II) to describe the bank’s wrought management history in the tumultuous years around the turn of the twentieth century. YSB had to come to grips with Japan’s effort at adopting the gold standard (1897), the difficult expansionary ‘postbellum administration’ after the Sino-Japanese War (1894‒5), and the consolidation of the country’s imperialism (after the Russo-Japanese War of 1904‒5)—all events shaping not only the bank’s operations and expansion in Asia, but also affecting the organization of its branch network and management of its flow-of-funds.
Частини книг з теми "Practice-led inquiry"
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Cohen, Joshua B., and Robert Gianni. "Democratic Experimentation with Responsibility: A Pragmatist Approach to Responsible Research and Innovation." In Putting Responsible Research and Innovation into Practice, 57–77. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-14710-4_4.
Повний текст джерелаАнотація:
AbstractDisruptive societal changes following from emerging science and technology have recently led to a growing interest in developing ethical frameworks. Responsible Research and Innovation (RRI) is such a framework that aims to improve the relationship between science and society. Now a decade after its conceptualization, it still seems to suffer from conceptual unclarity and lack of implementation. Since responsibility in research and innovation practice remains as important as ever, we propose to revive the normative potential of RRI by approaching it as a matter of collective democratic experimentation. To further develop this approach, we propose a pragmatist conceptualization inspired by John Dewey, his work on democracy as an ethical way of life and his attention to the contextual nature of responsibility. Furthermore, we show how his interest in social inquiring publics provides a particularly apt foothold from which to operationalize collective democratic experimentation with RRI. We will illustrate the utility of this approach, with specific attention to the social, experimental and public character of social inquiry, by connecting it to the recent call to use social labs methodology to experiment with RRI. From this we draw lessons for future collective democratic experimentation with responsibility in research and innovation practice.
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Bono, Irene. "Rescuing Biography from the Nation: Discrete Perspectives on Political Change in Morocco." In Methodological Approaches to Societies in Transformation, 139–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65067-4_6.
Повний текст джерелаАнотація:
AbstractPolitical biographies and the narratives of the nation-state may exert a reciprocal fictional influence: the nation as imagined community is often embodied in the biographies of imaginary actors. Since the 2004 launch of the transitional justice process in Morocco this tendency has led to increased attention for the stories of the victims of the violations committed by the State between 1956 and 1999 as if they were the main witnesses of the political change. In parallel, the protagonists of the nationalist struggle that led to independence from the French protectorate in 1956 have been acknowledged without, apparently, feeling it necessary to hear what they have to say about it. This chapter reflects on theoretical and methodological perspectives that allow the use of biography to explore political change beyond taken-for-granted conceptions of the nation-state and its trajectories of change. Reflecting on the relationship that developed between the author and a single actor called Abk, who wanted to tell his life story, the chapter proposes the writing of biography as a form of archival research and a fieldwork practice for exploring memory. It shows how paying attention to personal ways of conserving memory and remembering enables us to approach politics beyond predefined horizons of change without seeing a priori social configurations as ineluctable givens. Such a perspective, which the author calls “discrete”, suggests considering politics as a phenomenon that is difficult to fit into formal models of explanation, and taking subjectivity, the variability of life paths and contingency as relevant objects of inquiry for understanding political change.
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Lewis, Crystal, and Robin Throne. "Autoethnography and Other Self-Inquiry Methods for Practice-Based Doctoral Research." In Practice-Based and Practice-Led Research for Dissertation Development, 87–107. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6664-0.ch005.
Повний текст джерелаАнотація:
For some doctoral practitioner-researchers, the methods used within autoethnography and other self-inquiry-based research methods are appropriate for a practitioner dissertation as the phenomenon of inquiry is a central human, intrinsic, and experiential self-focused construct. The tenets of autoethnography and other self-as-subject research support the view that new knowledge can be discoverable from within the individual lived experience, and this chapter presents current trends and scholarship for the use of autoethnography and other self-inquiry research methods for practice-based doctoral research. The chapter also presents one case from a recent doctoral autoethnographer to illustrate the experience of a practice-based autoethnographic dissertation study within a practitioner doctoral program.
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Throne, Robin. "New Investigator Fidelity." In Practice-Based and Practice-Led Research for Dissertation Development, 165–87. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6664-0.ch008.
Повний текст джерелаАнотація:
This chapter presents researcher positionality within the specific context of practitioner doctoral research or practice-based research. The explication of researcher positionality is an essential precursor to practitioner doctoral inquiry for scholar-practitioners and can serve as a key anchor and measure for the scholar-practitioner's journey as new investigator and entrance to the scholarly academic community. The chapter also describes how the use of reflexivity may enhance fidelity of researcher positionality within practice-based doctoral research that informs professional practice. In addition, considerations and illustrations are offered for the evaluation and articulation of researcher positionality within the practitioner doctoral research journey that draws on the insider-outsider role of the scholar-practitioner as new researcher and seasoned practitioner.
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Fairbanks, Ruth, and Catherine Andrew. "Inquiry Learning in the Primary Social Science Classroom." In Advances in Early Childhood and K-12 Education, 125–55. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2901-0.ch007.
Повний текст джерелаАнотація:
Inquiry learning is considered more effective than traditional teacher-led learning. Whilst teachers espouse ideals of inquiry learning, actual implementation and practice remains unclear, requiring further study. Inquiry learning research in primary schools is mostly contained to maths and science. Few studies have investigated how primary school teachers differentiate practice to meet the needs of students with learning difficulties. Even fewer studies have investigated primary school teachers' implementation of Humanities and Social Science (HASS) inquiry learning. This chapter investigates primary school teachers' practices of implementing HASS inquiry learning, including strategies used to support students with learning difficulties, and school based factors impacting the implementation of inquiry learning. One Queensland regional school was identified using a theory-based sampling method. Teachers were recruited using criterion sampling method. Data were collected from semi-structured interviews and demographic questionnaires; and HASS unit plans of three teachers (n=3) were synthesised into three themes: (i) teachers described a sense of professional fulfilment when implementing inquiry learning; (ii) teachers implemented specific strategies including explicit instruction to differentiate learning for students with learning difficulties; and (iii) school-based factors including leadership endorsement impact on successful implementation of inquiry learning in a primary school. Data obtained from the single school and small sample limit generalisability, therefore future research regarding teachers' implementation of HASS inquiry learning is recommended. Identification of strategies that support students with learning difficulties, and the impact of HASS inquiry learning on achievement amongst students with and without learning difficulties, are also recommended.
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Zanden, Sarah Vander, Lois Berger, Katie Simpson, Kristen Schrock, Erin Becker, Jenifer Dise, and Katie Taylor Clausen. "Unwrapping the Shrink Wrap." In Advances in Educational Marketing, Administration, and Leadership, 258–74. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6500-1.ch010.
Повний текст джерелаАнотація:
This chapter describes a team of teachers and university instructors' investigation of teacher-led instructional improvements in elementary classroom writing instruction through peer observation and collective dialogue examining everyday teaching practices. Established tools and processes in place such as district curriculum, the Units of Study, and tools of observation and collaboration, specifically Learning Labs (www.pebc.org) protocol and professional learning communities, supported a naturalistic inquiry of practice. Teacher leadership, like writing instruction, is a process, and these educators identified co-constructed observation as a tool for sustaining joy, an under researched element of teacher leadership and professional development. Additionally, collaborative debriefing fostered professional growth, and collective inquiry provided inroads to autonomy in curricular decision making. The team sought to lead from within to develop understanding of and improvements in writing instruction.
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Esposito, Antonella. "Self-Organizing the Scholarly Practices." In Research 2.0 and the Impact of Digital Technologies on Scholarly Inquiry, 144–66. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0830-4.ch008.
Повний текст джерелаАнотація:
This study explores the self-organized activities undertaken across Web 2.0 and social media services by individual PhD researchers in their doctoral journey. It aims to add to the emergent body of knowledge reporting the doctoral students' experience in the digital venues for scholarly purposes. This chapter is based upon an international and multi-method research carried out to canvass the variety of social media practices characterizing the PhD researchers' digital engagement. The findings offer a detailed and unprecedented repertoire of individual experiments in taming social media to scholarly tasks. The results suggest that complex negotiations occur between technology and practice, where the tension between the need for supporting existing tasks and the attempt for expanding opportunities for personal development is always at work and prefigures an approach to digital engagement always on the move. Furthermore, the research sparks questions about any institution-led initiatives to support the sort of ‘do-it-yourself' PhD emerging from the participants' narratives.
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Grisoni, Louise. "Exploring Organizational Learning and Knowledge Exchange through Poetry." In Handbook of Research on Knowledge-Intensive Organizations, 98–115. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-176-6.ch007.
Повний текст джерелаАнотація:
The central discussion in this chapter is that poetry can be used to provide a bridge between tangible, rational and explicit knowledge and tacit or implicit knowledge, providing opportunities to access new organizational knowledge, understandings and learning. A study based on 60 middle and senior United Kingdom public services managers is presented. In this study managers worked together to explore how creative inquiry into their organizational experience might help address some of the problematic issues facing their organizations and learn how to develop new ideas about best practice. The challenge was to generate new knowledge about the organization. Poetry in the form of ‘haiku’ was used as a creative research method to access tacit knowledge, which, when combined with explicit knowledge and understanding, led to new insights and organizational learning.
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"Disability Employment Class Actions." In A Guide to Civil Procedure, edited by Brooke Coleman, Suzette Malveaux, Portia Pedro, and Elizabeth Porter, 75–84. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479805938.003.0010.
Повний текст джерелаАнотація:
This chapter argues that enforcement of the Americans With Disabilities Act (ADA) has been undermined by a cramped judicial interpretation of the federal class action rule’s certification criteria. Judges are undermining the power of this aggregation tool to structurally reform employment opportunity barriers for people with disabilities. The particularly fact-intensive, individualized inquiry into disabilities and reasonable accommodations that often characterize disability discrimination cases has stymied aggregate litigation. The chapter identifies helpful arguments that certain disability class actions can provide to civil rights employment antidiscrimination class actions and vice versa. This would involve: less emphasis on the individual and more on societal attitudes; a focus on anti-subordination harm theories; more agency-led pattern or practice cases to vindicate the public interest; and the use of intersectional claims.
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Bednar, P., and C. Welch. "Knowledge Creation and Sharing." In Managing Strategic Intelligence, 159–77. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59904-243-5.ch010.
Повний текст джерелаАнотація:
Strategic intelligence involves examination of internal and external organizational environments. Of course people inhabited each of these environments. Whether they are customers, allies or employees, these are not standardized units but real human beings with personal histories, perspectives, and opinions. Recent research and practice have led to the development of relatively complex methods for inquiry which can be applied by human analysts and which recognize contextual dependencies in a problem situation. One such method, the strategic systemic thinking framework, is outlined in this chapter. The purpose of complex analysis in relation to strategic intelligence is not, in our perspective, decision-making—it is developing an ability to make informed decisions. Until software tools could not support recently complex methods, since the limitations of traditional mathematical algorithms constrained their development. We suggest a model, which lays the foundations for the development of software support and can tolerate the inherent ambiguity in complex analysis, based on paraconsistent (multivalued) mathematical logic.
Тези доповідей конференцій з теми "Practice-led inquiry"
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Ings, Welby. "Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.171.
Повний текст джерелаАнотація:
This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities. In the field of design, such approaches are not unfamiliar. To illustrate how practice-led research in design may operate as a postdisciplinary inquiry, this paper employs a case study of the short film Sparrow (2017). In so doing, it unpacks the way in which knowledge from within and beyond conventionally demarcated disciplinary fields, was gathered, interpreted and creatively synthesised. Here, unconstrained by disciplinary demarcations, a designed artefact surfaced through a research fusion that integrated history, medicine, software development, public policy, poetry, typography, illustration, and film production.
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Sachdeva, Andrea, Liz Dawes Duraisingh, and Edward Per Clapp. "INQUIRY-DRIVEN INNOVATION: AN APPROACH TO SCHOOL-BASED CHANGE CATALYZED BY INQUIRY-LED PRACTICE AND PROFESSIONAL DEVELOPMENT." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.2113.
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Power, Nigel. "You Can’t Get There from Here: Discovering Where to Begin a Practice-led Inquiry – Notes and Reflections from Thailand." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.79.
Повний текст джерелаАнотація:
In Thailand, it is common for art and design students to select a research topic prior to beginning their Masters studies. On the basis of this choice, students are – if accepted – then expected to research, produce and defend a substantial body of creative work about their topic. Underlying this approach is an assumption that topic selection is a relatively unproblematic moment in the development of a creative project. In this study I argue that the opposite is the case and that investing time, energy and resources in helping students to discover a relevant, meaningful and original topic – rather than conjure one from thin air or fall back on habitual approaches to creative practice – lays the foundations for relevance, meaning and originality in the project itself. This is, I believe, true of all summative postgraduate projects in art and design but is particularly so in practice-led inquiries where greater weight is necessarily given to producing insight into the complex and often troubled relations between creative practice and knowledge production. Our MfA in Visual Communication addresses this issue through a one semester period of intensive intellectual and practical labour that precedes topic selection. At the heart of this is a series of studio exercises that set up and structure critical and material encounters between research and practice. We begin with critical reflection on the things that matter to the student within and beyond their practice – their ‘concerns’. Drafting and crafting concerns is, surprisingly for many, a difficult and sometimes troubling task. Yet when done well it produces a delicate linguistic and conceptual tissue that connects the personal, the social and the professional and, in so doing, establishes a field of ideas within which points of departure for meaningful practice-led inquiry might begin to disclose themselves. With a small set of working concerns in hand, we invite students to develop two cross-fertilizing lines of inquiry. Transforming concerns into questions, invites discussion of a variety of forms and means of answer seeking and through this consideration of different epistemological and methodological traditions or ways of knowing. Likewise, asking ‘who else seeks answers to these questions’, invites the identification of theorists and practitioners who might figure in the conceptual apparatus that will frame inquiry. Above all, responding to concerns and questions through experimental creative production, invites students to confront the implications of reimagining their creative practices as forms of inquiry and, in particular to engage directly with a problematique at the heart of practice-led approaches to research: that is, the relative epistemological status of linguistic (propositional) and material (affective-aesthetic) operations – the relations between words and works. These activities serve to nurture meaningful research topics and directions of inquiry that are grounded in engagement with fundamental ideas and processes central to practice-led and practice-based research. I illustrate this approach by discussing two student responses to and reflections on working towards a starting point in this way.
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Bednar, Peter, Christine Welch, and Almerindo Graziano. "Learning Objects and Their Implications on Learning: A Case of Developing the Foundation for a New Knowledge Infrastructure." In InSITE 2005: Informing Science + IT Education Conference. Informing Science Institute, 2005. http://dx.doi.org/10.28945/2907.
Повний текст джерелаАнотація:
In an era of lifelong learning, empowerment of the learner becomes fundamental. Therefore exploitation of the full potential of learning objects depends upon creation of an appropriate infrastructure to promote symmetrical control of inquiry. The learner needs to be empowered because learning is a discovery process and thus must be under his or her own control. In early stages of education it is often assumed that choice of material is to be decided by experts. At the more advanced stages, however, any subject problem space becomes more complex, and thus any decision related to relevance of inquiry properly rests with the learner. However without access to relevant contextual material (in addition to content) the learner will not be in a position to make responsible judgments. Two problems are to be adduced. First, current attempts to contextualise content, such as those based on the use of Metadata etc, have been shown to be insufficient. Secondly, current developments in infrastructure assume that access and control of inquiry rests with the provider and fail to accommodate support of symmetrical dialogue. Many strategies for the use of Learning Objects assume that a learner wishes to be led through the material and precludes the possibility of an educational experience which promotes critical thinking (such as that inspired by Socratic method). We would argue that an infrastructure is needed which is capable of supporting both types of learning practice.
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Mortensen Steagall, Marcos, and Sergio Nesteriuk Gallo. "LINK 2022 4th Conference in Creative Practice, Research and Global South." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.191.
Повний текст джерелаАнотація:
It is increasingly overwhelming that our societies are living in disintegrating environments and need for more sustainable design approaches and wiser ways of living and being. Anthropogenic design impact in corporate spheres is causing socio-ecological destruction that threatens the underpinnings of civilisation and bio-diverse nature. Hence, economies and life worlds are facing the limitations of narratives of progress and creeds of growth with their designs and actions that are inapposite to the flourishing of life on our planet. In this context that the LINK Conference has emerged. LINK is a research group created from reflections we always had about our actions as educators, researchers, and practitioners in the field of Art and Design. Over the last few years, we have noticed that such concerns have remained while they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the so-called “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their colours and contours. The intensification of globalisation and commodities fostered by markets and technology has led today’s critical theorists to advocate for new kinds of engagement between Art, Design and the world. Not coincidentally, the last decades saw significant contributions to Art and Design Research in the Global South and Indigenous contexts, where inquiry is situated within an intelligent and intelligible world of natural systems, replete with relational patterns for being in the world. Indigenising methodologies centre the production of knowledge around Art and Design processes and pieces of epistemologies derived from Indigenous Cultures. The relationships between researchers, practitioners and practice are being challenged and redefined, empowering Indigenous peoples to collect, analyse, interpret, and control research data instead of simply participating in projects as subjects. These shifting orientations and approaches respond for the decolonisation of research in higher education institutions and research methodologies employed by academics. Art and Design can help to transform obsolete social and economic practices into novel forms of life or living a meaningful life, thus replacing anthropo-centric Design for more pluriversal and transformational approaches beyond apocalyptical visions and dystopia. LINK Conference focuses on ways of knowing that inform research and methods involving Art and Design Research in the Global South and Indigenous contexts . LINK 2022 will challenge emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made). This recipe has consolidated as a sort of amalgam of LINK Conference. In its 4th edition, LINK 2022 celebrates the relationship between practice-led Art and Design research, Global South and Indigenous world views, fostering cognitive shifts to address twenty-first-century issues and the creation of inclusive communities that emphasise the interconnectedness (physical, social, emotional, spiritual, and intellectual) between people and landscapes. We hope you enjoy the reading.
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Faumuina, Cecelia. "'Asi - The presence of the unseen." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.110.
Повний текст джерелаАнотація:
This paper considers an indigenous, methodological framework developed for my doctoral thesis, ‘Asi: The Presence of the Unseen. Defined as ‘Ngatu’ the framework employs the heliaki (metaphor) of women’s collective crafting of indigenous fabric, to structure an artistic research project. Ngatu is cloth made from the bark of the paper mulberry tree. Used for floor mats, bedding, clothing and room dividers it is also often given as a gift at weddings, funerals and formal presentations. Ngatu is considered one of Oceania’s distinctive art forms and processes. Within the study, the position of the researcher is both a creator of artistic work and a reflector on the experience and practices of other collaborators. The Ngatu framework enables a practice-led inquiry that is underpinned by indigenous principles: uouongataha (the pursuit of harmony), mālie/māfana (warmth and beauty) and anga fakatōkilalo (being open to learning). Guided by these values, the methodology employs five distinct phases: TŌ (gestation) TĀ (harvesting knowledge) NGAOHI / TUTU (preparing and expanding ideas) HOKO/KOKA’ANGA (harmonious composition), and FOAKI (presentation). The Ngatu methodology may be seen in the light of a significant discussion in 2019, where a gathering of Oceanic scholars considered a proliferation of Indigenous models of inquiry that had been developed by Pacific researchers outside of conventional Western research paradigms. Although much of the discussion focused on research emanating from Health and the Social Sciences, the use of heliaki to describe methodological approaches to artistic inquiry also has a discernible history in doctoral theses in Aotearoa/New Zealand (Pouwhare, 2020; Toluta’u, 2015; Tupou, 2018; Vea, 2015). The Ngatu methodological framework was applied to the question, “What occurs when young Oceanic people work together artistically in a group, drawing on values from their cultural heritage to create meaningful faiva (artistic performances)?” In posing this question, the thesis sought to understand how, ‘asi (the spirit of the unseen), might operate as an empowering agency for endeavour and belonging. As such, the study proposed that ‘asi which is conventionally identified at the peak of artistic performance, might be also discernible before and after such an event, and resource the energy of artistic practice as a whole. The Ngatu methodology was applied to two bodies of work. The first was a co-created project called Lila. This was developed by a team of secondary school students who produced a contemporary faiva for presentation in 2019. This case study was used in conjunction with interviews from contemporary Oceanic youth leaders, reflecting on the nature and agency of ‘asi, as it appears in their artistic workshops with young people. The second work was a performance called FAIVA | FAI VĀ. This was the researcher’s artistic response to the witnessed nature of ‘asi. The performance integrated spoken word poetry, sound, illustration and video design.
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Aguayo, Claudio. "Informing immersive learning design research and practice from the epistemology of the Santiago School of Cognition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.70.
Повний текст джерелаАнотація:
The Santiago School of Cognition postulates that the process of intelligent cognition in any living system is a result of its ongoing process of adaptation to its medium. In other words, the very process of life in living systems is a process of cognition. It also establishes that human experience and cognition is embodied and enacted with the environment, through a continuous process of active perception and sense-making of the world. Coming from systems biology and founded on the concept of autopoiesis, literally meaning self-making, defining living systems as those that can reproduce and self-maintain themselves by creating their own parts, the Santiago school essentially offers an alternative epistemology for the understanding of human experience phenomena with digital tools and environments. It also provides a framework for the creation, design, development, implementation and use of digital affordances (possibilities offered by digital technology) in education and beyond. Informing immersive learning design research and practice from the epistemology of the Santiago school also helps exploring and navigating digital innovation and the emergence of new technologies and modes of user experience design and practice. Under the premise that the nature of the world we live in is complex, interconnected, unpredictable and ever-changing, and that human experience is subjective, ecosomaesthetic, symbolic and felt with the world, traditional western design concepts such as ‘one solution fits all’ or even the notion of ‘user experience (UX) design’ become problematic. Autopoiesis, cognition and enaction at the basis of human lived experience are some of the fundamental concepts and principles coming from the epistemology of the Santiago school that can inform and guide user-centred design and creative making practice in real and virtual worlds. Embedding properties found in living systems within creative solutions, or designing for users ‘to become with the world’ in a circular enactment within digitally immersive environments are only examples of where practice-led research and creative making can go. Here, the fundamental concepts and building blocks of the Santiago school are presented and reviewed in relation to their ability to inform the understanding of the nature of human experience in real and immersive worlds, and how we ought to design for it. Examples from research and practical work will help to portray how the epistemology of the Santiago school can become of interest and of real value to artistic and design practice and inquiry. Finally, the philosophical rationale guiding the inclusion of principles and concepts coming from the Santiago school in digital learning design, creative design and artistic practice not only invites us to reconsider and re-conceptualise the role of learners and of digital technology systems and tools in educational practice, but also to rethink the nature of learning and of human experience within creative practice.
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Minguzzi, Magda, Yolanda Hernandez Navarro, and Lucy Vosloo. "Traditional dwellings and techniques of the First Indigenous Peoples of South Africa in the Eastern Cape." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15019.
Повний текст джерелаАнотація:
Vernacular indigenous dwellings of the Khoikhoi Peoples (First Indigenous Peoples of South Africa[1]) present in the Baviaans Kloof area in the Eastern Cape (South Africa) have been surveyed and are currently under study by the authors with the direct involvement of the community members. This research is of particular relevance because: it is conducted in a geographical area that is currently under-researched in respect to this particular theme; the dwellings are an exceptionally rare example of the use of Khoikhoi traditional techniques and materials; it was achieved with the direct engagement of the Indigenous community. The research collaboration applies a transdisciplinary approach and method – already in place with the NRF-CEP research by Dr Minguzzi – that employs a multi-layered methodology: practice-led research, community engagement/ community cultural development, influenced by narrative inquiry. In the age of globalization, it becomes necessary to study the origin and development of those buildings to understand their constructive process, the use of specific local materials as well as the consequences that the introduction of unsustainable colonial materials caused. This is an aspect that could be relevant for future reflection on how to preserve and promote the Indigenous cultural, social inclusion and sustainable built environment. The paper will define the state of the art and morphological, functional and technical analysis of contemporary Khoikhoi dwellings to identify the tangible and intangible cultural heritage and the influences of colonization on it. [1] The First Indigenous Peoples of South Africa are the San (hunter-gatherer) and Khoikhoi (herders). Two groups which, in precolonial times had overlapping subsistence patterns and use of the territory, and which, from the colonist arrival until the present, have been fighting for the recognition of their identity and heritage. In this regard see: Besten M. “We are the original inhabitant of this land: Khoe-San identity in post-apartheid South Africa”, in Adhaikari M. (2013), Burdened by Race: Coloured identities in southern Africa, UCT press, Cape Town.
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Myers, Marie J. "ENSURING SUCCESS IN THE FLIPPED CLASSROOM WHEN TEACHING ON- LINE." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end093.
Повний текст джерелаАнотація:
As teaching moved on-line we had to rethink and readjust what approaches to use in order to reach the outcomes. Adjustments had to be made to the designed activities especially when groups had to meet in breakout rooms. We will present the various aspects that came under scrutiny, as for example, peripheral participation, the development of mini-communities of practice, cooperation, collaboration and mediation. We analyzed instructor’s journal notes and students’ products. There were 53 students in the classes concerned. The main research question is what was effective in making participants improve learning and how did the implementation increase their understanding of working together virtually. The method used is qualitative (Creswell, & Poth, 2018). The instructor took observational notes of processes and actions during planned activities. These notes were analyzed to uncover insights. In addition, student ‘products’ of group work were analyzed for the triangulation of results. Results show that the effort put into creating more engagement in the module brought about a number of interesting results that increased student understanding. Overall, findings show that participants reiterate expectations and summarize them, the repetition allowed a better grasp and this could also be due to the fact that during the reconversion, participants had to make sure they really understood the contents, i.e. ensuring that the meanings were clear which, in turn led to a better intake of specific features. As regards working together, several issues were identified, yet overall, all students were highly successful, due mostly to a supportive approach as regards feedback or a ‘feed-through’ approach. The theoretical underpinnings came from research on learning and pointed to the requirement of additional insights on the part of instructors especially when teaching has to take into account equity, diversity, inclusion and indigenization (EDII). Instruction had to be more connected to students’ lives. Bransford et al (2000) assert that “to develop competence in an area of inquiry, students must: a) have a deep foundation of factual knowledge, b) understand facts and ideas in the context of a conceptual framework, and c) organize knowledge in ways that facilitate retrieval and application” (p. 16).
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Paora, Tangaroa. "Applying a kaupapa Māori paradigm to researching takatāpui identities." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.179.
Повний текст джерелаАнотація:
In this practice-led doctoral thesis I adopt a Kaupapa Māori paradigm, where rangahau (gathering, grouping and forming, to create new knowledge and understanding), is grounded in a cultural perspective and Māori holistic worldview that is respectful of tikanga Māori (customs) and āhuatanga Māori (cultural practices). The case study that forms the focus of the presentation asks, “How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression”. In addressing this, the researcher is guided and upheld by five mātāpono (principles): He kanohi kitea (a face seen, is appreciated) Titiro, whakarongo, kōrero (looking, listening and speaking) Manaakitangata (sharing and hosting people, being generous) Kia tūpato (being cautious) Kāua e takahi i te mana o te tangata (avoiding trampling on the mana of participants). In connecting these principles and values that are innate within te ao Māori (Māori people and culture) the paper unpacks a distinctive approach taken to interviewing and photographing nine takatāpui tāne (Māori males whose sexuality and gender identification are non-heteronormative). These men’s narratives of experience form the cornerstone of the inquiry that has a research focus on tuakiritanga (identity) where performative expression and connectivity to Māori way of being, causes individuals to carry themselves in distinctive ways. The lived experience of being takatāpui within systems that are built to be exclusive and discriminatory is significant for such individuals as they struggle to reclaim a place of belonging within te ao Māori, re-Indigenise whakaaro (understanding), and tangatatanga (being the self). In discussing a specifically Māori approach to drawing the poetics of lived experience forward in images and text, the presentation considers cultural practices like kaitahi (sharing of food and space), kanohi ki te kanohi kōrero (face to face interviewing), and manaakitangata (hosting with respect and care). The paper then considers the implications of working with an artistic collaborator (photographer), who is not Māori and does not identify as takatāpui yet becomes part of an environment of trust and vulnerable expression. Finally, the paper discusses images surfacing from a series of photoshoots and interviews conducted between August 2021 and February 2023. Here my concern was with how a participant’s identitiy and perfomativity might be discussed when preparing for a photoshoot, and then reviewing images that had been taken. The process involved an initial interview about each person’s identitiy, then a reflection on images emanating from studio session. For the shoot, the participant initially dressed themseleves as the takatāpui tāne who ‘passed’ in the world and later as the takatāpui tāne who dwelt inside. For the researcher, the process of titiro, whakarongo, kōrero (observing, listening and recording what was spoken), resourced a subsequent creative writing exercise where works were composed from fragments of interviews. These poems along with the photographs and interviews, constituted portraits of how each person understood themself as a self-realising, proud, fluid and distinctive Māori individual.