OsloMet Periodika
Not a member yet
2463 research outputs found
Sort by
Editorial. Conference proceedings of the 2nd Biennial International Conference for the Craft Sciences—BICCS 2023
Get PDFThe papers in this issue comprise the proceedings of the 2nd Biennial International Conference for the Craft Sciences, held 20–22 September 2023 in Mariestad at the Craft Laboratory, affiliated with the Department of Conservation, University of Gothenburg, Sweden. Craft is an integral aspect of daily life and work, activated in all the knowledgeable processes of making and transforming ideas into artefacts and services. Craft is commonly anticipated as a form of production, but it may also be practiced as a social and political activity and as a way of knowing and being in the world. Craft is omnipresent and multi-folded. Consequently, craft research is diverse, conducted across and within different disciplines and academic contexts, and operates with distinct perspectives and approaches
Bifid Rib – Boon Or Bane
Get PDFBifid rib is a rare anatomical anomaly and it accounts for approximately 1.2 % of all the known rib abnormalities. The bifurcation usually occurs at the sternal end of the rib and its two extremities are joined to a bifid costal cartilage. These anomalies remain asymptomatic and can create misinterpretation during physical or radiological examinations. This case report provides a comprehensive summary about bifid ribs reported in the literature
L’épicentre: Démocratie, Éco*Citoyenneté mondiale et Éducation transformatoire The Epicenter: Democracy, Eco*Global Citizenship and Transformative Education El Epicentro: Democracia, Eco*Ciudadanía Mundial y Educación Transformadora : Edited by Carr, P. R., Thésée, G., & Rivas-Sanchez, E. (2023)
No full text
Black Screens: From problem to something useful?
Get PDFIn this article, we ask the question: Why do students choose to turn their cameras off during online teaching? We discuss this issue from the perspective of adaptive structuration theory and media richness theory. We use qualitative data from 169 free text answers from two surveys conducted during the pandemic: in May/June 2020 and May/June 2021. In our analysis, we have developed three categories – “the social context”, “window mirror” and the “noisy classroom” – to better understand why students turn off their cameras. Based on these categories, we describe problems that turning off the camera is a response to. These problems are: too many cues, attributes of the home that might promote negative feelings, disclosure of home and personal activities, and online self-image. Our findings are in line with other research that contends that turning off the camera helps to reduce problems, such as an invasion of privacy that could be distracting and uncomfortable, and “digital fatigue”. We contribute to the research field by describing that some students turn off their camera for another reason: to maintain their self-image. However, although turning off cameras solves problems, the resulting “black screens” create new problems, in the form of less engagement for collaborative learning activities and an increased feeling of isolation among students
Re-storying SDG 14: life below water
Get PDFIn this text the focus is on re-telling multispecies stories about life below water, and the specific focus is on how to tell such stories, which awake moral agency in humans to care what happens with life below water. Sustainable development goal (SDG) number 14 Life below water concerns about “conserving and sustainable use the oceans, seas and marine resources for sustainable development”. To be able to achieve the goal there are created ten targets to create action for sustainable future. All ten targets are closely related with human use of life below water as a resource for own needs. What about thinking water as home for many living creatures and life below water as something we humans could have an empathic relationship with? The text suggests that the use of dramatic empathy in multispecies storytelling practice is close of the strategies of feministic care ethics where other-directedness and openness to difference may create empathic relationship with the other, which is essential for achieving attitude change and moral agency for more sustainable future.  
Barns refleksjoner om forholdet mellom natur og mennesker i litterære samtaler om bildeboka De to gamle og livets tre
Get PDFThis article explores a unique reading project involving a group of 4-5-year-old kindergarten kids and the French picture book Les Deux Vieux et l’Arbre de vie [The Two Elders and the Tree of life] by Patrick Fischmann, illustrated by Martine Bourre (2013). The project was a literary outreach project, and part of the artistic research project Lydhør i Kongsgården, focusing on the theme of seeds. The article delves into the expression of children\u27s reflections on the relationship between nature and human beings within the context of literary conversations with the children.
Significantly, this project aligns with the United Nations\u27 SDG No. 15, "Life on Earth," which places special emphasis on the conservation and development of forests. The project was inspired by a pedagogical approach to child-centric reading, emphasizing the children\u27s autonomy and their capacity for constructing meaning (Solstad, 2015). Additionally, it draws on the ecocritical analysis model known as The Phyto Analyzes Map (Guanio-Uluru, 2021) to shed light on the complex interplay between trees and human beings as portrayed in children\u27s literature.
Throughout the project, the children exhibited playful and thought-provoking reflections, particularly regarding the biological and nutritional conditions required for seed germination, as presented in the book. Moreover, they generated imaginative suggestions for novel forms of interaction between people and trees, grounded in an empathetic approach that considers the needs of both trees and people.Denne artikkelen utforsker et leseprosjekt som involverer en gruppe 4-5 år gamle barnehagebarn og den franske bildeboka Les deux vieux et l’arbre de vie [De to gamle og livets tre] av Patrick Fischmann, illustrert av Martine Bourre (2013). Prosjektet var et litterært formidlingsprosjekt, og en del av det kunstneriske forskningsprosjektet Lydhør i Kongsgården, med fokus på temaet frø. Artikkelen fordyper seg i hvordan barna uttrykker sine refleksjoner over forholdet mellom natur og mennesker innenfor konteksten av litterære samtaler med barna.
Prosjektet har relevans for FNs bærekraftsmål nr. 15, "Livet på jorda", som legger spesiell vekt på bevaring og utvikling av skoger. Prosjektet var inspirert av en pedagogisk tilnærming til lesing for barn, med vekt på barnas autonomi og deres evne til å konstruere mening (Solstad, 2015). I tillegg bruker vi den økokritiske analysemodellen kjent som The Phyto Analyzes Map (Guanio-Uluru, 2021) for å kaste lys over det komplekse samspillet mellom trær og mennesker slik det er fremstilt i barnelitteraturen.
Gjennom hele prosjektet viste barna lekne og tankevekkende refleksjoner, spesielt angående de biologiske og ernæringsmessige forholdene som kreves for frøspiring, som presentert i boken. Dessuten genererte de fantasifulle forslag til nye former for interaksjon mellom mennesker og trær, basert på en empatisk tilnærming som tar hensyn til behovene til både trær og mennesker
Turning it sustainable: implementing sustainability goals in theatre productions at NTNU
Get PDFThis article proposes ways of implementing sustainability goals in theatre productions to create interesting creative expressions. It is a case study that examines the work done by the author in the first-year bachelor course on “Theatre Production” in 2021-2023, to turn the course sustainable by addressing UN Sustainable Development Goal no. 12 “Responsible Consumption and Production”.
In the article, I describe the course’s design and curatorial choices, and the tools used to identify and implement sustainable goals. I discuss the impact of integrating the 4R principles (Reuse, Reduce, Repurpose, Recycle) and the Climate Policy and Action Plans in the creative process. I then argue that the qualities of the sustainable process – the counting and the measuring – impact the artistic choices in unexpected ways.
Cover image: From the performance “People and their enemies” (2021). Photo: Elena Pere
Læringssyn i skaparrørslelitteraturen
Get PDFThe maker movement is rapidly growing worldwide, working with fabrication and communication technologies, insisting on making as a fundamental human activity and emphasizing humans as the key player in digitalization. It is difficult to attach the movement to a single culture, trend or event. It is more likely a result of several simultaneously trends appearing at the right time, like the Do-It-Yourself / Do-It-Together- culture, ideas and mind-set from STE(A)M-pedagogy, hacker-culture, tinkering, docracy, co-working/ collaboration, community, open source-culture is also influencing the maker movement. Maker spaces have now been established in both formal and un-formal learning environments, such as public libraries, museums and science centers, schools and universities. However, while the maker movement is about to be a well-established and highly regarded pedagogical approach working with technology in schools, it is difficult to identify what view of learning the practitioners of maker pedagogy possess. The aim of this study is to explore how scholars have described and analyzed the mind-set of the maker movement in former studies. I further question the plenitude of mind-sets uncovered in such studies and possible categorization of these. Empirically, the article will be based on several (3-6) literature reviews of former studies on the maker movement related and learning. Skaparrørsla (på engelsk Maker movement) veks raskt verda over og løftar fabrikasjon- og kommunikasjonsteknologi som nye verktøy inn i kreative prosessar, saman med det skapande menneskje som nøkkelspelar i den digitale utviklinga av samfunnet. Skaparrørsla insisterer på at å skape er ein grunnleggande menneskeleg aktivitet og i ein skaparverkstad (på engelsk Makerspace) er læringa som skjer i- og mellom menneskjer, og i møte med material og verktøy, den viktigaste verdiskapinga. Rørsla let seg vanskeleg knytte til ein enkelt kultur, trend eller hending. Snarare er det eit samanfall av fleire samtidige, som haker-, restarter- og gjer-det-sjølv-rørslene (DIY), samt ideear og tankesett frå entreprenørskap- og STE(A)M-pedagogikken m.fl. Skaparverkstader er no etablert både i- og utanfor formelle læringsmiljø i Noreg, i folkebibliotek, museum, vitskapssenter, skular og universitet. Rørsla er slik også iferd med å påverke det pedagogiske arbeidet i skulen, særleg i øving av digitale kompetansar og arbeid med teknologi. Samtidig er det vanskeleg å identifisere ei stringent retning på kva læringssyn dette styrer etter. Målet med studia er å undersøke korleis forskarar har skildra og analysert tankesettet knytt til læring i skaparrørslelitteraturen frå tidlegare studiar, internasjonalt og nasjonalt, med eit særleg søkelys på kunst- og handverksfaget. Gjennom litteraturgjennomgangar kjem det fram at den skaparsentrerte undervisninga og læringa både har fått form og fotfeste som er tilpassa og integrert i dei skulekulturane der både rørsla og forskinga har fått halde på ei stund, som i USA. I norsk samanheng er både skaparrørsla og skaparrørsleforsking kome kortare. Førebels er det fyrst og fremst STEM-fag og uformelle læringssituasjonar som har tatt eigarskap og gitt form til den skaparsentrerte pedagogikken. I kunst- og handverksfag-samanheng dreier forskinga seg i stor grad om prosjekt utført i- og av høgare utdanning.Nøkkelord: læringssyn, læring, skaparverkstad, skaparrørsle, kunst- og handverksfa
Non-linear maker pedagogy in Finnish craft education
Get PDFThis research explores the use of a non-linear maker pedagogy for implementing a major change in the Finnish national core curriculum. The latest curriculum change (2014) introduced so-called transversal competences, but also a major change for the subject of crafts: ‘multi-material’ crafts that involve former separately taught textile and technical crafts both now introduced to all pupils. These changes set the stage for in-service teacher training, as well as for pedagogical solutions, such as a non-linear maker pedagogy and closer collaboration between technical and textile craft teachers. A non-linear maker pedagogy refers to an approach combining several features: a shift from individual learning and solo teaching to collaborative knowledge-creating learning, opportunities for collective invention and improvisation, pupil-centred situated inquiry and the creation of artefacts that combine material and digital realms. In this collective case study, we interviewed six teachers who co-taught non-linear maker projects in six different schools. Through a qualitative content analysis, we identified successes and challenges regarding the use of a non-linear maker pedagogy, pupil collaboration and teaching digital skills through robotics and e-textiles. In the interviews, teachers reflected on their work mainly by describing their pupils’ accomplishments, reactions and learning. These reflections indicated similar challenges and successes, suggesting that the variation between pupils and pupil groups was larger than that between schools. Furthermore, we discuss whether the selected pedagogical approach was unduly ambitious. Despite all the challenges, most of the teachers expressed their commitment to developing their teaching practices along the lines of a non-linear maker pedagogy.Keywords: Co-teaching, Curriculum change, Digital skills, Non-linear maker pedagogy, Pupil-directed situated inquiryThis research explores the use of a non-linear maker pedagogy for implementing a major change in the Finnish national core curriculum. The latest curriculum change (2014) introduced so-called transversal competences, but also a major change for the subject of crafts: ‘multi-material’ crafts that involve former separately taught textile and technical crafts both now introduced to all pupils. These changes set the stage for in-service teacher training, as well as for pedagogical solutions, such as a non-linear maker pedagogy and closer collaboration between technical and textile craft teachers. A non-linear maker pedagogy refers to an approach combining several features: a shift from individual learning and solo teaching to collaborative knowledge-creating learning, opportunities for collective invention and improvisation, pupil-centred situated inquiry and the creation of artefacts that combine material and digital realms. In this collective case study, we interviewed six teachers who co-taught non-linear maker projects in six different schools. Through a qualitative content analysis, we identified successes and challenges regarding the use of a non-linear maker pedagogy, pupil collaboration and teaching digital skills through robotics and e-textiles. In the interviews, teachers reflected on their work mainly by describing their pupils’ accomplishments, reactions and learning. These reflections indicated similar challenges and successes, suggesting that the variation between pupils and pupil groups was larger than that between schools. Furthermore, we discuss whether the selected pedagogical approach was unduly ambitious. Despite all the challenges, most of the teachers expressed their commitment to developing their teaching practices along the lines of a non-linear maker pedagogy.Keywords: Co-teaching, Curriculum change, Digital skills, Non-linear maker pedagogy, Pupil-directed situated inquir